The End of Endings

Modern Videogames and the Code for Infinite Time

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The End of Endings

After sinking what seemed like at least fifty hours into Metal Gear Solid V: The Phantom Pain (I could have checked the in-game clock, but I didn’t feel like deep-menu-diving), I frantically but successfully dispatched the requisite Giant Fucking Robot (GFR) that stood between me and the endgame.

That’s how you know you’re at the end of a Metal Gear Solid game: You find yourself face to face with a GFR, and you blow it up with missiles. It’s like clockwork. You could set your watch to it. You shouldn’t do that, of course—a GFR’s arrival is no useful kind of time measurement—but you could.

Something’s different in MGS V, though, and it’s deeply unsettling. Hideo Kojima, whether in revenge for his ignoble ousting from Konami or simply because his ego has grown bigger than Big Boss, made the balls-of-steel executive decision to cap every single mission in the game with credits identifying him as the game’s director.

Naturally, such a decision leads to a series of existentially twisty, Philosophy-101-Lite questions: Is a game that effectively “ends” after each mission ever really “over”? How do you know when to call it quitsies and move on to something else? Do videogames really end at all anymore?

Like any half-decent philosophical questions worth their salt (their salt is expensive), these aren’t easily answered, but they might make for some good discussion fodder. I’ll keep using MGS V as a primary example, if only because it’s what I’ve been working on lately (and because, by now, it’s basically turned into a part-time job).


Back in the Day

It used to be the case that, when you dispatched the final boss of a game, that was it. Curtains. The game’s over, congratulations, you win, you’re done. Go play outside and get some sun, you agoraphobic phantom. If you were lucky, the game designer programmed in a perfunctory closing story sequence to tie up loose ends and make you feel like it was all worth your while, like you accomplished something, but more often, the ending was just that: the end. Two options: Jab the reset button and start over, or shut the whole thing down and do something else.

Towards the end of the Super Nintendo’s life-cycle, however, Chrono Trigger tried out a scary new way to finish games: Don’t finish them at all. The bones of Chrono Trigger’s “New Game+” system are buried in predecessor games—to cite one famous example, The Legend of Zelda allowed for a second playthrough in a scrambled-up, more difficult version of the original game world—but it was Chrono Trigger that, for better or worse, inspired hordes of future developers to incentivize repeat go-arounds of their games by subtly (or not-so-subtly) altering the playing experience.

In Chrono Trigger, taking down Lavos, an oversized space-pincushion controlled from the inside by the late David Bowie, rewarded the victorious player with the option to restart the story while retaining all items and stats accrued the first time through, the better to view the game’s various endings. Each ending required certain conditions to be met during a playthrough, and New Game+ opened up the possibility of meeting those conditions and viewing alternate endings without investing the countless hours that would be required when starting from scratch.

New Game+ was such a revolutionary system that it eventually became a mainstay of not only the JRPG genre, but games generally, to the point that greedy, entitled gamers began to expect it as a tasty dessert to their gaming entrees and to revolt when it wasn’t offered. That’s a win-win, right? It seems nigh indisputable that so long as the main game offers a fully fleshed-out experience, New Game+ represents pure bonus value, more bang for the buck.

But does there come a point when the buck has bought too much bang?


Time Extended!

I’ll answer that one outright: Yep. Metal Gear Solid V is a great example of the disturbing direction in which the New Game+ system has evolved. I’m pretty sure it’s not the only example of the trend, but I have no way of knowing for sure because, well, I can’t seem to finish Metal Gear Solid V. I thought I’d finished it when I obliterated that GFR I mentioned earlier—for shit’s sake, there was a fade-to-black and ten minutes of full-screen credits—but I burst into incredulous, panicked laughter when the credits ended and “Chapter 2” flashed ominously across the screen. Chapter 2? Out of… out of how many? Were they all that long? What about my job? My family?

Without diving too deeply into spoiler territory, it turns out that Chapter 2 is mostly optional. Still, it contains enough substantive plot that, if you don’t play through it, you won’t get nearly the whole story. Come to think of it, though, the story feels thoroughly incomplete even after wrapping up Chapter 2, and I’m pretty sure there are no plotty missions left for me to complete at this point. That might speak more to the tumultuous nature of the MGS V development process than it does to gaming as a whole, but that doesn’t make me feel any less anxious about the “53% Complete” badge of shame hovering below Big Boss as he broods in his copter with the main menu plastered across his face.

So, a quick summary: I finished the story, I completed a substantial number of side ops (seriously, I did!), I developed all kinds of fancy new weapons and explosive knickknacks, I built out Mother Base to its full capacity, and, somehow, I completed no more than roughly half of the game. What in the holy hell could that leftover 47% possibly consist of, and is it really worth my time to find out? In powering through today’s infinitely extended games, that’s the real question, the one that tickles the back of my brain: not “when is this game over?” but “when is this game over for me?”

As it turns out, MGS V was over for me at 53%. Numerically, I’ll be leaving half of the game unplayed, but I’m learning that the completionist instinct within me has no place in this strange new world. I got what I wanted out of the game—a glancing attempt at a wacky story, some truly epic sniping battles, balloons to attach to tanks, heat-seeking rocket launchers—and now I’m finished. It may be that I’ll revisit the game later on and blow through a few side ops, but I’m not going to prioritize it. I have other games to play.


Who Cares?

Why does any of this matter? Who cares if games don’t really end anymore, but instead continue to plod along, existing in perpetuity? Well, I do, for one—I don’t know when to put the game down otherwise, or I’m at least forced to make uncomfortable decisions about when to slowly back away from it.

I’m noticing an emerging dichotomy between gameplay and story that’s becoming more pronounced as technology makes the sort of expansive game universe featured in MGS V more and more accessible, and which side of the dichotomy a game falls on has a direct impact on how—and even whether—that game ends.

In a lot of ways, MGS V is a weird example to use, given that it’s at least as well known for its (ahem) “lengthy” cinematics as it is for its often stellar gameplay (it hasn’t always been clear if MGS is a movie masquerading as a game or vice versa), but the point actually applies quite directly: The bigger the world and the fewer restrictions placed on the player in exploring that world, the looser the story and less “final” the ending.

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