James Bond games used to be a major force in the licensed game industry.
Starting with Goldeneye in 1997, players were blessed with a fantastic new game every other year, featuring different play styles and genres as the years went on.
We had the excellent first-person shooter Nightfire, the superb third-person shooters Everything or Nothing and From Russia With Love, and even a remake of the classic Goldeneye, which updated the 1995 film to the modern day, complete with Daniel Craig instead of Pierce Brosnan as the iconic superspy.
But after a few years in the 2010s, with only the poor Quantum of Solace adaptation in 2008, the okay Blood Stone in 2010, and the abysmal 007: Legends in 2012, the series has been dark for nearly a decade. That all changed in the tail end of 2020.
The trailer, which is just under one minute in length, shows someone loading a bullet into a gun, before the camera sweeps around to show the iconic gunbarrel, accompanied by the James Bond theme. IO also posted a press release on their website, saying the that the story will be a “…wholly original Bond story…” where players will “…earn their 00 status in the very first James Bond origin story.”
While it is still early days, as a James Bond fan, I’m already hooked on a new game being on the horizon.
With nothing less known about the project, let’s do a bit of speculating, and create a wishlist of things that I would like to see in the game.
For Your Eyes Only – What Would I Like to see in Project 007
A New Bond
With IO’s phrase, a “wholly original Bond story” in their press release, and Daniel Craig stepping away from the role after the film No Time To Die, it seems like IO’s 007 will have nothing in connection with the most recent incarnation of Bond films.
I think this is a good thing. While the mid-2000s were the peak of licensed games, with Spiderman 2, The Chronicles of Riddick, and The Simpsons: Hit and Run, nowadays the market has shrunk to a mere fraction of what it once was.
Sure, every now and again you’ll get an Insomniac Spiderman, Telltale Walking Dead, or WB Shadow Of Mordor, but these are few and far between. However, these games smartly take their setting and characters, and create an alternate universe that stands apart from the more famous media. Project 007 should work on the same factor.
But with no cinematic Bond to base the main character on, what would he look like? In IO’s press release, it says “…players with earn THEIR 00 status”, could we take this to mean that some character customisation could be involved? To take the customisation point further, players could be awarded experience points to make Bond quicker, stealthier, tougher, better with gadgets or weapons, in essence, making their Bond entirely unique to them. I think this would be a fun angle for players, and would be cool to see the different variations that we could make.
However, even though the game is named Project 007, the name James Bond comes up many times in the press release, so sadly I don’t think we’ll be seeing any playable female agents in the main story.
A New (Old) Era
IO’s main series, Hitman, is a thoroughly modern game, always full of hi-tech gadgets and settings. While it would be easy for IO to slip in 007 to these locales, I think it might be fun for the developers to leap back in time. It would be something not just interesting and original for IO by setting it apart from the Hitman series, but would also be new for the Bond license. The majority of the games have been set around the Pierce Brosnan/Daniel Craig era, with one outlier, From Russia With Love, an adaptation of the 1963 film, complete with Sean Connery voicing 007.
Setting the game in the 1950s and 60s means the game would be full of tense East vs. West standoffs, with Bond going against his KGB contemporaries. Being hunted and hunting enemy spies or double agents is a perfect scenario for any spy media, and I hope Project 007 has at least one mission based on this idea.
The 1960s also gives us new weapons, unique architecture, and snazzy suits (we know how much IO likes their suits). Being set in the past, the game also deals with the ‘smart phone’ problem. In more recent 007 games, especially ones based on Daniel Craig’s interpretation of Bond, 007’s smartphone is his primary gadget. It’s a camera, a tracker, a communication device, a codebreaker, it does EVERYTHING. Having the setting be the early 60s means the game can be creative with a range of gadgets, like a laser watch, sonic cufflinks, and coins as grenades to name a few.
A Mash Of Genres
Many James Bond games are straight-up shooters, but I think that loses a lot of their character. It’s less 007 and more CoD. To alleviate this, I think a 007 game should have a mix of styles.
Just like the new Hitman games, 007 should be able to shoot his way through to his objectives, but stealth should also be a viable option. It would also be quite refreshing to have a few levels where killing is forbidden or highly discouraged, and we have to focus more on a simple Judo chop or our gadgets than our trusty silenced pistol.
It might also be good to take some inspiration from what previous games got right. The great granddaddy of James Bond games is Goldeneye for the Nintendo 64. While it is chock-full of baddies to blast away, Goldeneye tasks Bond with sending messages, escorting Soviet defectors, installing gadgets, and photographing evidence. These simple tasks made the game more ‘alive’ than some modern 007 games, as we are doing actual spy work.
Another staple from previous games that was always a joy were the driving sections. IO have never done a driving game, but they could take the same approach to vehicular gameplay as they did for Hitman, using the 2001 game Agent Under Fire as a reference.
In many James Bond games, the driving sections are little more than linear or even on-rails affairs, where players just have to maintain speed and not crash to continue. In Agent Under Fire, Bond is given an open world to drive around in and complete his tasks. These are everything from tracing a suspect vehicle, delivering codes to MI6, to shooting down enemy helicopters. The open approach gives the player so much freedom, where even if they crash or go a different way, they aren’t immediately thrown to the ‘Game Over’ screen. IO should really take inspiration from the past 007 games and recreate what made them fun.
Multiplayer deathmatches have become a staple of James Bond games ever since Goldeneye, with players being able to choose from a rogues gallery of prior Bond characters, in iconic locations, and blow each other to pieces.
While IO could implement a fun third-person shootout, I think they could also reuse their multiplayer aspect from Hitman, having two agents (say, MI6 and KGB) race to complete their missions, all the while trying to stop the other from completing theirs.
If we added the customisation aspect I mentioned previously, I think this could be a really fun way to see how different players work with their unique versions of Bond.
IO also have little modes in Hitman such as Contracts (players select a target and test others to kill them in a specific way) and the Sniper Challenge (players have to eliminate certain targets but only with their sniper) that with a little tweak could easily slot into the world of 007. These mini games don’t even have to be connected to the main game, but can be a fun offshoot for players to mess with.
As I said in the opening, it’s been nearly a decade since we last had a James Bond game. Games have moved on, not just in terms of trends and graphics, but with new gameplay modes and interactivity.
Back in the day, James Bond used to help push the games industry forward, from experienced and lauded developers such as Rare, Eurocom, EA Redwood Shores (later known as Visceral) and Bizarre Creations.
With Goldeneye in 1997, it showed that an FPS could work on home consoles. Everything or Nothing and From Russia With Love are still marvels of artistry and design, with insanely detailed models of Sean Connery and Pierce Brosnan. With its new Hitman trilogy, IO have built upon their previous success and made something that is completely unique in the market.
If they can bring the same level of craftsmanship and detail that they bring to Agent 47, I think Project 007 would be well on its way to being not just one of the best games of its year, but the best James Bond game ever.
I recently finished reading the first James Bond book, Casino Royale. Despite being a 007 fan for as long as I can remember, I had never actually gotten round to reading the classic stories by Ian Fleming.
While I was obviously introduced to the series with the films (every week I would head to Blockbuster and get a new one to watch), I think I truly became a fan when I was introduced to the games.
Picture the scene; it is 2003. I am seven years old. Our household console, the original PlayStation, ups and dies. We upgrade to the PlayStation 2 which is few years into its lifespan. We get three games with the PS2; FIFA, a Dave Mirra game, and James Bond 007: Nightfire.
The latter is the first FPS (first-person shooter) I play, and I become both a lifelong fan of the genre and the character.
There are no nostalgia goggles when I say Nightfire is one of the best games of the sixth generation. I have bought that game several times for different consoles, playing it well into my adult life. And I think that it all comes down to the excellent opening of the game, ‘The Exchange’.
This level features so many variations and little things to help a new player immerse themselves into the world of 007, so I thought I would take a look back and analyse how it creates and inducts the player into the gameplay.
“Now, pay attention 007!”– How ‘The Exchange’ Teaches Players Mechanics Through the Level Design
‘The Exchange’ is the second level of 007 Nightfire. The first level, ‘Paris Prelude’, is strictly an on-rails/driving affair with ‘The Exchange’ being the game’s first proper FPS mission.
If a player has not played the game before, ‘Paris Prelude’ starts. Aiming is computer-controlled; the player just has to shoot using the R1 button (the button is helpfully flashed on-screen when it is needed).
Even if the player has not got to grips with all the controls (by reading the game manual) then they know at least one button and what it does.
‘The Exchange’ begins with 007 on a mission to infiltrate an enemy castle in Austria. Bond starts a few hundred metres away from the front door on top of a guardhouse. This starting placement is important.
This guardhouse allows the player that has never played a game before to get used to the movement controls. This is a safe space. There are no enemies patrolling, nothing shooting at you, it is nice and calm. The game even allows you to fire your weapon once just to try the controls out. If you fire a second shot then a guard will investigate the sound (a good way to discipline the player for forgetting what the button does).
Bond’s placement on top of the guardhouse also helps player navigation. The end of the opening cutscene and the player starting position draw the eyes forward to the large castle, pointing the way forward. The player can venture backwards on the road, but will find the path blocked by a locked door, forcing them to have to move towards the castle.
This is such a small thing, but it helps aid movement. Imagine if the player started inside the guardhouse. It would be a more claustrophobic start instead of the freedom of the open environment. It would be counter-intuitive to player guidance by not showing us the way forward.
Once the player has got the hang of the controls there are three main ways to get into the castle; one aggressive, two stealthy. We will go with aggressive first.
The player makes their way down the stairs of the guardhouse and sees a bad guy stationed just outside the door. This is the first enemy of the game. This set-up allows us to be ushered into combat without being overwhelmed. The guard is facing away, allowing the player to play at their pace.
This is where knowledge of shooting comes back. Guns and bullets are player interaction at its purest. The guard must be dealt with to proceed, but since he is unaware of the player, the player can take their time to line up a shot. If the player has tinkered around on the roof, they may have found Bond can punch or use a stunning gadget. If the player accidentally wanders out of the guardhouse, Bond will make the guard surrender, a safety net for those still struggling with the controls.
And to top it all off, this guard is a singular entity. Unless the player completely messes up and doesn’t deal with him, he cannot alert other guards.
Subduing this guard will net us a new weapon, a sniper. The other enemies at the beginning of this level are visible in the distance (white outfits against a black/grey backgrounds), and so the sniper can be used to pick enemies off. Again, the player knows the shoot button and will use it to interact with the world.
The guards further up the road are stationery and will not notice the player until they get close. This allows the player to find an unobstructed viewpoint (the middle of the road) to survey the bad guys. The sniper is also silenced, allowing for players to take down bad guys without alerting others.
As the player moves up and dispatches the bad guys, they may acquire another new gun, a machine gun. This brings Nightfire’s weapon matrix into play. Now we have three distinct weapons. They each have their own strengths and weaknesses in regards to damage and range. After the player takes the machine gun, there are two more enemies in this starting area that it can be used against, allowing the player to familiarise themselves with the new weapon.
From there, the player heads to the main door and once they have found the action button, they continue to the next section.
Stealth 1: The Wine Truck
If the player waits on the roof, they can use the wine truck method. When the truck passes through the guardhouse, it will stall for a period of time. This allows the player to hop into the back from the roof and get inside the castle without killing any guards.
This is one of those moments that reward the player’s imagination. If the player thinks they can do it, then they quite possibly can in Nightfire. It is such a long way from the funneled systems of many big budget games of this generation where a mission will fail if you step an inch outside of the creator’s vision.
Stealth 2: The Castle Wall
Continuing the jumping aspect, if the player jumps from the roof to the rocky cliff face (the same way if they were to head backwards) they will find a footpath that leads to a ravine.
If they continue, a pop-up in the corner of the screen indicates there is a grappling station nearby. If the player looks around with their grapple equipped they can see a white target reticle. Focussing in on the reticle with the grapple turns it green (the universal colour of ‘go’). Once the player has used the grapple they have to make their way around the outside of the castle, sneaking past other guards.
This path introduces the (optional) contextual movement aspect where the player can traverse a wall or zipline by shimmying along. These are some serious stealth strategies though and failure will lead to heavily armed goons coming to take you down. This is for a player that has mastered the controls and locates the opportunity.
There is another contextual movement section before the one previously mentioned.
After the player has got through the first wave of bad guys but before the main door, there is a little path leading off to the left.
Heading down there allows the player to scale around the wall. During the cutscene Bond moves through some crunchy snow (5:28). The guards at the door (if they are alive) will come and investigate, but soon head back to their post. This introduces sound into a larger gameplay loop.
If the player has gunned their way to this section, they already know about sound and its role in alerting guards. This gameplay section highlights that quick movements can give you away and that slow movements (such as when the player is crouching) can make you silent and less easy to detect.
Each one of these variations on infiltrating the castle starts you in a different place during the next section. If you came in with the wine truck you start near the wine cellars. If you walked through the main door you are a few corridors away. And if you took the ‘Stealth 2’ route you start in a guard tower.
Even better, all these other places are available to visit. If you came in via the castle wall you can find the truck and where it ends up. It’s almost like reverse engineering, seeing where certain gameplay decisions spawn you.
I am going to finish this piece here because I don’t want this article to run long, but I will give a few bullet points as to what the next gameplay sections deliver.
A non-violent social stealth element where the player must work their way through the environment (useful in later levels like ‘Night Shift’).
Bond uses his micro-camera in two cutscenes. Its appearance shows it can be used for surveillance and to complete objectives (like in ‘Chain Reaction’).
We are barred from following the bad guys, so we go another way to rendezvous with another agent. On the way back, the barred section is open. As it is now unlocked, we can follow it. This is a perfect way to guide players in a non-linear fashion.
After some shooting we get another weapon (an unsilenced machine pistol, another element added to the weapon matrix).
We head back outside and encounter a contextual zipline. Like the guardhouse there are no enemies shooting at us, so we can find the button that makes the zipline work without the worry that we will die.
Alternatively, the player can stay inside and get to the next objective quicker.
Alternatively, if we did go outside we would be awarded with another weapon (a machine gun with a silencer) and a stun grenade. These weapons make quick work of the guards at the objective, as they use cover and have machine pistols.
When the player completes the objective by retrieving a suitcase, they also pick up a rocket launcher. It is impossible to pick up the suitcase without also getting the launcher.
Once the player has got to the cable car station (which they would have visited if they went outside, but is also in a straight line if they stayed inside), a helicopter shows up. What do we have that can take down a helicopter? The rocket launcher.
The cable car has several windows. These can be shot out with regular ammo, allowing an almost perfect 360 degrees view.
The rocket is automatically on guided rockets, so when a player first shoots one they control its destination. While this may seem confusing on the first shot, the player’s previous movement controls come back into play and they can deliver several follow up shots on the helicopter.
The rocket launcher has full ammo capacity so even if the player misses a few shots, they will have enough to finish the mission.
Each following level takes one of the aspects from the ‘The Exchange’ and expands it, whether that is close quarters combat (‘Double Cross’), stealth (‘Night Shift’) sniping (‘Chain Reaction’) or all-out action (‘Phoenix Fire’).
While there might be some stealth in ‘Phoenix Fire’ or action at the end of ‘Night Shift’, these are only very small elements. This allows the levels to have their own distinct tones and themes. But that is why ‘The Exchange’ is a perfect opening. It allows for that difference in playstyle but also player freedom, educating them on how to play the game.
Newer 007 games like Blood Stone and Goldeneye Reloaded also have this balance of stealth and action in their opening levels, but none of them give the freedom of Nightfire, instead they railroad you through a directed experience.
That is not to say that strict linear games are bad. On the contrary, I love Blood Stone. But I think that freedom gives ‘The Exchange’ and Nightfire an excellent sense of character and gameplay. And that is why it is so fondly remembered.
And it doesn’t hurt that they absolutely killed it with the multiplayer. ‘Skyrail’ anyone?
After my first post on my top dialogues in gaming I got thinking about other games that I thought had great dialogue sequences. I started to move away from just my favourite scenes instead looking at the different ways that dialogue is used.
I still like all of the scenes that are listed below, but I’ve tried to pick some dialogues that are special in the ways that they use character interaction especially those that work within adaptations or use factors outside of a simple back-and-forth.
So, let’s skip this preamble and jump right in, this is Another Top Five Dialogue Scenes In Gaming.
Lara Croft and Pierre Dupont meet in Tomb Raider Anniversary
Tomb Raider Anniversary is a remake of the first Tomb Raider game. With a fantastic blueprint to work from in terms of level design, the creators, Crystal Dynamics, decided to focus on updating the story and fleshing out the characters who were mere cardboard cutouts in the first game.
While at this point we’ve already had a few verbal sparring matches with the morally-grey mercenary Larson, it’s Lara Croft’s interaction with fellow treasure hunter Pierre Dupont that takes the number five spot.
In the original game Pierre wasn’t much of a character. He would turn up during points of the Greece section of the game and shoot at Lara before running off and vanishing into thin air as soon he was out of line of sight.
Here in TRA we see two people who seem to have prior knowledge of each other. This can be seen by the fact that they are both on first name terms with each other, discussing each other’s personal philosophy that informs how they go about their work. This adds up to create a backstory for these two characters that will probably never see a gaming screen (although Pierre and Larson did come back for Tomb Raider Chronicles which was set before TR1). This gives all the characters a few different shades and facets rather than just “bad guy” and “good girl”.
The way that the cutscene plays also informs us about Pierre as a character. We only see his character model once during the sequence, instead following his voice as it reverberates around the room. This was meant to be a callback to his vanishing act from TR1, (1:50) but I read it as Pierre toying with Lara and messing with her head since she can’t find him.
When we finally see Pierre, he is in the shadows hidden from Lara and pointing both of his guns at her. He has a clear shot, ready to kill her, but backs off and disappears. This adds another layer to his character; he likes a challenge rather than eliminating his competition.
This continues through the game, as we hear his voice throughout the next levels, taunting us and finally ambushing us at the end, where once again, he and Lara’s conflicting worldviews clash.
All this makes him a much more interesting character rather than a simple shoot-first character like he was in the original.
(Cutscene starts at 10:32)
The Confrontations with Red Grant in From Russia with Love
This one is quite different as it is an adaptation/remake of a film, but the subtle changes make it a good one to look at.
From Russia With Love came out during a period in the James Bond series between Pierce Brosnan being let go and Daniel Craig being signed on to play 007. EA wanted to keep making James Bond games so got Sean Connery to come back to play the iconic spy and took one of his films, From Russia With Love (an odd choice due to the film not being action heavy like Goldfinger or Thunderball) and adapted it to a game.
While the game takes several liberties with the original story it also remakes scenes shot-for-shot, word-for-word. The scene I’ve chosen is a mixture between the two.
The two characters, Red Grant (the bad guy pretending to be an MI6 agent) and James Bond meet on a smoky Turkish train platform, each providing their part of the secret code to each other to identify themselves. Red Grant is rather jovial, coming across as naive as he plays sidekick to Bond.
But as soon as they get to the dining car, Grant’s jovialness twists on a dime. His smile becomes a frown. His light-hearted phrase, “old man” takes on a sarcastic touch. Bond catches on when Grant orders red wine with their grilled sole (which adds to a funny line later when Grant hits Bond over the head with a bottle and says “There’s your white wine, old man!”). After pulling into the train station, Grant and Bond trade words lifted straight from the film. It is a cool scene, seeing dialogue that was originally in a tense interrogation repurposed as the start of an action sequence.
The connections made through Bond and Grant’s dialogue adds to up to their final confrontation at the very end of the game. After destroying the multi-appendage contraption that Grant is piloting, Bond finds him lying on the floor, defeated. Bond levels his gun and Grant starts to mock him.
“Are you going to shoot me in cold blood, old man? You don’t have the guts. It’s not the ‘English’ way. It’s just like red wine with fish.”
The way Grant delivers the line is perfect. The sneering disapproval of ‘English’, the reoccurrence of “old man” as an insult, and the final hint of their previous encounter with the mention of red wine and fish. Grant and the organisation Octopus set up the murder of Bond in the story because they misread the “British mentality”, which is stated at the beginning of the game (and the film). That’s why is hits much harder when Bond blows Grant away before he even finishes the word ‘fish’.
Bond’s final line of “That was for Kerim” also adds a somber tone to proceedings. Throughout the game, Kerim Bey has been by your side, helping you out along the way. Grant kills Kerim just before you meet in the dining car, and we see no hint of emotion from Bond when he first learns of Kerim’s death during gameplay.
Adding it here adds a nice little pathos to the end of the game and cements the fact that these two characters had a friendship rather than Kerim being just a helpful NPC.
(19:29-21:58 and 29:13)
Sam Fisher in Ghost Recon: Wildlands
I put another Splinter Cell moment on my first list because the writing in Splinter Cell is top notch and Sam Fisher is one of the best-written characters in the entirety of gaming. Michael Ironside, the original voice of Sam Fisher, worked with the developers to create a more three-dimensional character, giving Sam not just a great voice but something more on a deeper level.
Ironside explains that originally Sam was going to be a G.I. Joe-esque, two-dimensional, flat, gung-ho type character. Ironside wasn’t interested in playing a character like that. He saw Fisher as, “…a weapon that the government has used too many times.” (0:52). The character is not a gruff, macho one-man army (who do have their place in gaming), Fisher is instead imbued with cynicism, dark humour and genuine moments of tenderness (such as when Sam is asked to tap phone lines for his former field handler Frances Coen, he says, “For Frances…of course I can” (2:30)).
But the moment I want to talk about it the character’s most recent appearance, as an NPC in the game Ghost Recon Wildlands. The Ghosts help Fisher with a mission (again voiced by Ironside rather than Eric Johnson, who took over for Splinter Cell Blacklist), before they help extract him and bring him back to their field handler, Karen.
The two characters of them have some nice banter (with Sam calling her Linda, to which she replies that she’s “Karen nowadays”). Karen notices that Sam has gotten old and he responds, “I’ve heard they don’t make them [spies] like me anymore” (14:44) before mentioning one guy that used to be like him. Most fans got a kick out of the scene because Fisher starts to describe Solid Snake. Karen cuts him off with, “I heard he finally retired.” (15:04).
Whether this was a reference to David Hayder being passed over for Keifer Sutherland or a wider swipe at Metal Gear Solid being shut down by Konami, Sam replies with a quiet, “Then it’s only me.” (15:09).
The beauty of this line is that it has so many different layers. The initial reaction is one of smug superiority; after many years of the two competing franchises Sam Fisher has outlived his greatest rival. But then it’s a sad dawning. Sam’s line of “they don’t make them like me anymore” has extra metatextual meaning; they don’t make spy/stealth games like Splinter Cell or Metal Gear Solid anymore.
Looking at it from a character perspective, what has Sam got? He’s outlived every other rival, and what does he have to show for it? He’s pushing sixty, in a job that he will never get any recognition or respect for, all of his friends have either betrayed him or died, he’s lost countless lovers, and he hardly knows his only daughter.
It’s a sad realisation and as Sam thinks through his place in the world, Karen snaps him out of his pondering, saying that he has a new mission and he’s shipping out in one hour. This adds even greater sadness to the scene and character. Just as he looks at his life from a different perspective and starts to have doubts, he gets pulled back in.
(Cutscene starts at 14:44).
The Cristina Memories from Assassin’s Creed: Brotherhood
I am not a fan of Assassin’s Creed Brotherhood. I feel that it was a step down from Assassin’s Creed II and negates the entire downer ending of that game (although Revelations did bring it back round for the finale).
The only thing that kept me remotely interested in the game were the Cristina Memories. Cristina Vespucci was a minor character in the opening of Assassin’s Creed II and is one of Ezio’s many conquests throughout the game. She’s rather important because they are childhood sweethearts. It is safe to assume they were each other’s first relationship. While we hardly see any of that in AC2, their relationship is explored during the “Cristina Memories”, little vignettes of their relationship in Brotherhood.
These scenes are interesting because we get to see what being an Assassin does to a relationship. All of Ezio’s other ladies; Caterina Sforza, Rosa The Thief, Lucrezia Borgia, countless courtesans, they are all mainly one-offs or “distractions”, sex just for the hell of it. Cristina is so much more, and it can be seen during the dialogue.
Their first meeting is beautifully awkward with Cristina initially being dismissive but then intrigued by her would-be suitor (with his plea for a “second chance” to woo her (1:12)). The second memory has so much in what isn’t said. When Ezio asks Cristina to come with him, she simply says, “I want to…but I can’t…my family,” (9:55) reflecting Cristina’s conflicting priorities between her life and her love for Ezio.
My favourites of the Cristina Memories are the third and fourth. In the third scene Ezio returns to his belle only to find she is betrothed. His previous playful banter with Cristina is diminished as he learns that while he has been gallivanting around Tuscany sticking Templars and collecting feathers, Cristina has been living her life in quiet desperation. She has had to move on with her life while he is still chasing people that took away his former happy existence.
While Ezio has had to mature beyond his years to care for his mother and sister, but when he sees Cristina again he regresses back to being 17 years of age and hoping that pure love she had for him hasn’t waned. It hasn’t, but he sees that his life isn’t compatible with hers, and his final line of, “He’ll make a good husband, I made sure of it,” (13:55) is gently tender yet painful as he must accept that she can’t wait for him forever.
The fourth scene is especially heart wrenching, as Ezio tries to recapture that spark of what should have been, if only the couple had time and history had been different. When the two meet in a dark Venetian alley Cristina is understandably pissed at him. He pretended to be her husband and he says he, “…was afraid that you [she] wouldn’t come if I [he] just asked.” (17:00). Cristina confirms this, and it’s here that we see the pain of loving and losing someone.
Cristina stills loves Ezio, but she had to change. He was forever teasing her, reappearing every few years, tempting her with a life and a love that was true and innocent, but with him racing off faster than he arrived, leaving her alone again. And she couldn’t do it anymore.
She loves him too much, and to paraprhase a line from Professor Laytonand the Unwound Future (and another great romance scene), “ she doesn’t want to say goodbye again. She can’t, she won’t.” (1:00). Because it hurts her every time when he leaves. She tells him that she loved him but she has to end their connection. He had his “second chance” and she leaves, telling him to never find her again.
For the finale we see that Cristina still carried a torch for Ezio after all the time spent apart, hoping that one day he might return to her. She whispers, “I wish we could have had a second chance,” before passing away in Ezio’s arms.
What hurts more is that Ezio never truly recovered. Despite having endless flings and floozies throughout the subsequent games, no one ever comes close to Cristina until Sofia Sartor arrives, when Ezio is well into his fifties.
And in a similar way he originally doesn’t want to get Sofia tangled up in his messed up life and endless struggle against the Templars, but she stays anyway. In a letter to his sister Claudia, Ezio says, “When Cristina died, something withered in me,” (15:55) showing that even with time, some wounds never truly heal.
Elena and Nathan and “Are you happy?” in Uncharted 4.
I know I mentioned in my first post that the Grosvenor McCaffrey interview in L.A. Noire is my favourite dialogue in all of gaming, but this one takes a close second.
After Uncharted 3 many people thought the series was over. Most games go for trilogies rather than quadrilogies, but Naughty Dog came back to tell one last hurrah.
The scene in Uncharted 4 shows life in the Drake household now that the two treasure hunters have “settled down”. Elena still has a little bit of adventure, travelling all around the world for travel magazines, while Nathan is relegated to menial cleaning jobs.
The two eat dinner and Nathan starts to zone out while Elena goes on about her current assignment. She can tell that he is dissatisfied with his job, but even when she tries to push him in a direction that would make him happy, he refuses.
Elena goes to wash up but Nathan says he wants to do it. He says he’ll play her for it on her “TV game thing” (a lovely jaunt through Naughty Dog’s Crash Banidcoot). One short game session later Nathan has lost and Elena starts to sweetly trash talk him, “You can give it another shot. C’mon double or nothing, my car could really use a good cleaning…there’s this mode called “easy mode”, I just switch it. It’s way easier on easy mode.” (12:37).
The two start to bicker like the cute married couple they are until Nate snaps and grabs Elena, tickling her into submission on the couch. The two stop and stare lovingly into each other’s eyes, until Elena says one of my favourite lines in all of gaming,
“Hey, are you happy?”
Nate’s unsteady reply of, “Yeah…course,” says so much about the two’s relationship, of settling down and moving away from hopes and dreams so they could have a shot at a safer and normal life.
The scene ends beautifully too with Nate asking, “You?” Elena puts on a mock thinking face and says “Um,” before the two laugh and kiss.
I would call the scene verisimilitudinous, but that would be a disservice to the scene, because it isn’t a simulation of the real, it is real. I’ve had this conversation in real life and similar ones like it as I assume many other people have. This isn’t just a sweet scene with some heartfelt emotion and some beautifully understated lines, this is a perfect representation of real life with all of its mundanity and shows of affection. And that’s why it tops my list as one of the best dialogue scenes in all of gaming.
(Start at 5:49).
Rounding out the list are some honourable mentions as well as a few single lines not from dialogues that I like. In terms of dialogues pretty much all of 2008’s Prince Of Persia is excellent with the main characters of the Prince and Elika seamlessly morphing from vaguely antagonistic to potential lovers over time (and all in optional dialogue, which is interesting).
In the Hitman series Agent 47 and Diana Burnwood’s interactions are fascinating dialogues mainly because of their working relationship. Diana is the only person that is “close” to 47, and even then he doesn’t see her face whenever they are together. Like the Prince and Elika their relationship has changed as the games have gone on, developing as the stories have got more intricate and personal.
For single lines (disqualified from the numbered entries because I wanted more than one character in the scene), the Max Payne series always has good lines. While I and my housemates have fun shouting lines from Max Payne 3 at each other (especially the over-the-top ones where Max’s voice cracks), my favourite line from the series is the last line of Max Payne 2;
“I had a dream of my wife. She was dead, but it was all right.”
That line sums up the pain of Max and his redemption over the first two games, quietly bringing the second chapter of his life to a close.
And lastly a funny one (warning, phonetically-spelt swear words ahead). From Rainbow Six Siege, the SAS Operator Thatcher has a hatred of all electrical gadgets, listing them, “GPS Satellites, Unmanned drones…” and my favourite, “…fookin lazeh soights…” (as it is phonetically pronounced). The delivery of the line sealed my appreciation of it, and much like Max Payne 3, this line became a staple of my university house, with much hilarity ensuing when a barely audible “fookin lazeh soights” would be heard when passing each other on the stairs.