How video games turn players into storytellers | David Cage

Translator: Haslina Abdul Hardy Reviewer: Aznah Arshad

The way we tell stories has naturally changed

Cara kita bercerita

telah berubah

since Aristotle defined the rules of tragedy

sejak Aristotle mendefinisikan peraturan tragedi

about 2,500 years ago.

kira-kira 2,500 tahun dahulu.

According to him,

Menurut beliau,

the role of storytelling is to mimic life and make us feel emotions.

peranan penceritaan ialah untuk meniru kehidupan

dan membuat kita beremosi.

And that's exactly what storytelling as we know it

Dan itulah penceritaan seperti yang kita tahu

has done very well since then.

telah berjaya dilakukan sejak itu.

But there is a dimension of life

Tetapi terdapat dimensi kehidupan

that storytelling could never really reproduce.

yang tidak dapat dicipta semula oleh penceritaan

It is the notion of choices.

iaitu tanggapan tentang pilihan.

Choices are a very important part of our lives.

Pilihan sangat penting dalam hidup kita.

We as individuals are defined by the choices we make.

Kita didefinisikan oleh pilihan yang kita buat.

Some of our decisions can have very significant consequences

Sesetengah keputusan kita boleh meninggalkan kesan yang besar

and totally change the courses of our lives.

dan merubah sepenuhnya hidup kita.

But in a play, a novel or a film,

Tetapi dalam lakonan, novel atau filem,

the writer makes all the decisions in advance for the characters,

penulis membuat semua keputusan lebih awal untuk watak,

and as the audience,

dan sebagai penonton,

we can only watch, passively,

kita hanya boleh melihat secara pasif,

the consequences of his decisions.

akibat daripada keputusannya.

As a storyteller, I've always been fascinated

Sebagai pencerita, saya selalu tertarik

with the idea of recreating this notion of choices in fiction.

dengan idea untuk mencipta semula tanggapan tentang pilihan dalam fiksyen.

My dream was to put the audience in the shoes of the main protagonists,

Impian saya ialah meletakkan penonton dalam watak protagonis utama,

let them make their own decisions,

biar mereka buat keputusan sendiri,

and by doing so, let them tell their own stories.

dan dengan itu, biarkan mereka menceritakan cerita mereka sendiri.

Finding a way to achieve this is what I did in the past 20 years of my life.

Mencari kaedah untuk mencapai impian ini mengisi masa saya selama 20 tahun.

Today, I would like to introduce you to this new way of telling stories,

Hari ini, saya ingin memperkenal kaedah baru bercerita.

a way that has interactivity at its heart.

Kaedah yang berasaskan interaktiviti.

Rather than exposing the theory behind it,

Daripada mendedahkan teori di sebalik kaedah ini,

which could have been kind of abstract and probably a little bit boring,

yang mungkin agak abstrak dan sedikit membosankan,

I thought it would be a great opportunity to do a little experiment.

saya rasa ini peluang terbaik untuk membuat sedikit uji kaji.

I would like you, the people here at TED,

Saya ingin anda, peserta TED,

to tell your own story.

menceritakan cerita anda sendiri.

So I came with an interactive scene that we are going to play together.

Maka saya bawakan babak interaktif yang kita akan mainkan bersama-sama.

I've asked Vicky --

Saya telah meminta Vicky --

hello, Vicky --

Hello, Vicky --

to control the main character for us.

untuk mengawal watak utama untuk kita.

And your role -- you, the audience --

Dan peranan anda, para penonton,

will be to make the choices.

adalah untuk membuat pilihan.

So Vicky and I don't know what's going to happen,

Vicky dan saya tidak tahu apa yang akan berlaku

because it will all be based on your decisions.

kerana semuanya berdasarkan keputusan anda.

This scene comes from our next game, called "Detroit: Become Human,"

Babak ini daripada permainan kami yang akan datang, "Detroit: Become Human,"

and we are in the near future,

dan kita berada di masa hadapan,

where technology made possible the creation of androids

yang mana teknologi telah membolehkan penciptaan android

that look exactly like human beings.

yang kelihatan seperti manusia.

We are in the shoes of this character called Connor,

Kita memainkan watak bernama Connor,

who is an android,

sebuah android,

and he can do very fancy things with coins, as you can see.

dan dia boleh membuat perkara ragam dengan syiling, seperti yang anda lihat.

He has this blue triangle on this chest,

Dia mempunyai segitiga berwarna biru di dadanya,

as all androids do,

seperti semua android,

and now Vicky is in control of this character.

dan sekarang Vicky mengawal watak ini.

She can walk around, she can go anywhere, she can look around,

Dia boleh berjalan-jalan, pergi ke mana-mana, melihat-lihat,

she can interact with her environment,

berinteraksi dengan persekitarannya,

and now she can tell her own stories by making choices.

dan sekarang dia boleh bercerita dengan membuat pilihan.

So here we have our first choice.

Di sini kita boleh membuat pilihan pertama kita.

There is a fish on the ground.

Ada ikan di atas lantai.

What should we do?

Apa perlu kita buat?

Should we save it or should we leave it?

Selamatkan atau biarkan ikan itu?

Remember, we are under time pressure,

Ingat, kita mempunyai tekanan masa,

so we'd better be fast.

kita perlu bertindak pantas.

What should we do?

Apa perlu kita buat?

Penonton: Selamatkan! Biarkan!

Audience: Save it!

David Cage: Save it? Save the fish?

David Cage: Baik, mari selamatkan ikan?

(Video) (Fish plops)

(Video) (Ikan masuk dalam air)

DC: There we go.

DC: Baiklah.

OK, we have an android who likes animals.

OK, kita ada android yang sukakan haiwan.

OK, let's move on.

OK, mari teruskan.

Remember, we have a hostage situation.

Ingat, kita ada situasi tebusan.

(Video) Woman: Please, please, you've got to save my little girl!

(Video) Wanita: Tolong, tolong, kamu perlu selamatkan anak saya!

Wait -- you're sending an android?

Tunggu -- kamu hantar android?

Officer: All right, ma'am, you need to go.

Pegawai: Baik, puan. Puan perlu pergi.

W: You can't do that!

W: Kamu tak boleh buat begitu!

Why aren't you sending a real person?

Kenapa kamu tak hantar orang sebenar?

DC: OK, she's not really happy.

DC: OK, dia tak gembira.

Her daughter's been taken hostage by an android,

Anaknya telah dijadikan tebusan oleh android.

and of course, she's in a state of shock.

dan tentu dia dalam keadaan terkejut.

Now we can continue to explore this apartment.

Sekarang kita boleh periksa pangsapuri ini.

We see all the SWAT forces in place.

Kita melihat pasukan SWAT dalam kedudukan mereka.

But we need to find this Captain Allen first.

Tetapi kita perlu mencari Kapten Allen dahulu.

That's the first thing we need to do.

Itu perkara pertama kita perlu buat.

So, again, we can go anywhere.

Sekali lagi, kita boleh ke mana-mana.

Vicky's still in control of the character.

Vicky masih mengawal watak.

Let's see -- oh, I think this is Captain Allen. He's on the phone.

Mari lihat -- oh, saya rasa ini Kapten Allen. Dia bercakap di telefon?

(Video) Connor: Captain Allen, my name is Connor.

(Video) Connor: Kapten Allen, nama saya, Connor.

I'm the android sent by CyberLife.

Saya android yang dihantar oleh CyberLife.

Captain Allen: Let's fire at everything that moves.

Kapten Allen: Ia menembak apa-apa yang bergerak.

It already shot down two of my men.

Ia telah menembak dua pegawai saya.

We could easily get it, but they're on the edge of the balcony --

Kami boleh tembaknya, tetapi mereka di hujung beranda.

Jika ia jatuh,

it if falls,

she falls.

budak itu jatuh.

DC: OK, now we need to decide what we want to ask the captain.

DC: OK, kita perlu memilih soalan untuk ditanyakan kepada kapten.

What should be our choice?

Apa pilihan kita?

Deviant's name? Deviant's behavior? Emotional shock?

Nama devian? Tingkah laku devian? Kejutan emosi?

(Video) C: Has it experienced an emotional shock recently?

(Video)C: Adakah ia mengalami tekanan emosi baru-baru ini?

Capt A: I haven't got a clue. Does it matter?

Kapt A: Saya tak tahu. Pentingkah?

C: I need information to determine the best approach.

C: Saya perlukan maklumat untuk menentukan langkah terbaik.

DC: OK, a second choice. Maybe we can learn something.

DC: OK, pilihan kedua. Mungkin kita boleh belajar sesuatu.

What should we choose?

Apa perlu kita pilih?

Audience: Behavior.

Penonton: Tingkah laku.

DC: OK, deviant behavior, Vicky.

DC: Tingkah laku devian, Vicky.

(Video) C: Do you know if it's been behaving strangely before this?

(Video)C: Adakah ia pernah berkelakuan pelik sebelum ini?

Capt A: Listen ... saving that kid is all that matters.

Kapt A: Dengar... menyelamatkan budak itu perkara paling penting.

DC: OK, we are not going to learn anything from this guy.

DC: OK, kita tak akan tahu apa-apa daripada lelaki ini.

We need to do something.

Kita perlu buat sesuatu.

Let's try to go back in the lobby.

Mari cuba ke lobi semula.

Oh, wait -- there's a room over there on your right, Vicky, I think.

Oh, tunggu -- ada bilik di sebelah kanan, Vicky, saya rasa.

Maybe there's something we can learn here.

Mungkin ada sesuatu yang boleh kita pelajari di sini.

Oh, there's a tablet.

Oh, ada tablet.

Let's have a look.

Mari kita lihat.

(Video) Girl: This is Daniel, the coolest android in the world.

(Video) Gadis: Ini Daniel, android terhebat di dunia.

Say "Hi," Daniel.

Cakap "Hi, Daniel."

Daniel: Hello!

Daniel: Hello!

G: You're my bestie, we'll always be together!

G: Awak kawan baik saya, kita akan sentiasa bersama-sama!

DC: That was just one way of playing the scenes,

DC: Ini salah satu cara untuk mainkan babak itu,

but there are many other ways of playing it.

tetapi terdapat banyak lagi cara untuk memainkannya.

Depending on the choices you make,

Bergantung pada pilihan anda,

we could have seen many different actions,

kita boleh lihat pelbagai tindakan berbeza,

many different consequences,

pelbagai akibat berbeza,

many different outcomes.

pelbagai hasil berbeza.

So that gives you an idea of what my work is about as an interactive writer.

Jadi, itu memberi anda gambaran tentang tugas saya sebagai penulis interaktif.

Where a linear writer needs to deal with time and space,

Sementara seorang penulis linear perlu bermain dengan masa dan ruang,

as an interactive writer,

sebagai penulis interaktif,

I need to deal with time, space and possibilities.

saya perlu bermain dengan masa, ruang dan kemungkinan.

I have to manage massive tree structures,

Saya perlu menguruskan struktur pokok yang besar,

where each branch is a new variation of the story.

yang mana setiap dahan merupakan variasi baru cerita tersebut.

I need to think about all the possibilities in a given scene

Saya perlu fikirkan semua kemungkinan dalam setiap babak

and try to imagine everything that can happen.

dan bayangkan semua perkara yang boleh berlaku.

I need to deal with thousands and thousands of variables,

Saya perlu berkerja dengan beribu-ribu pembolehubah,

conditions and possibilities.

keadaan dan kemungkinan.

As a consequence, where a film script is about 100 pages,

Akibatnya, sementara skrip filem mempunyai 100 muka surat,

an interactive script like this is between four and five thousand pages.

skrip interaktif seperti ini mempunyai antara empat hingga lima ribu muka surat.

So that gives you an idea of what this work is about.

Anda kini mendapat gambaran tentang tugas ini.

But I think, in the end, the experience is very unique,

Tetapi saya fikir, pada akhirnya, pengalaman ini amat unik

because it is the result of the collaboration

kerana ini adalah hasil daripada kerjasama

between a writer creating this narrative landscape

antara penulis yang mencipta landskap naratif ini

and the player making his own decisions,

dan pemain yang membuat keputusan sendiri,

telling his own story and becoming the cowriter

menceritakan ceritanya dan menjadi penulis bersama,

but also the coactor and the codirector of the story.

tetapi juga pelakon bersama dan pengarah bersama cerita ini.

Interactive storytelling is a revolution in the way we tell stories.

Penceritaan interaktif merupakan revolusi dalam cara kita bercerita.

With the emergence of new platforms like interactive television,

Dengan kemunculan platform baharu seperti televisyen interaktif,

virtual reality and video games,

realiti maya dan permainan video,

it can become a new form of entertainment

ia boleh menjadi bentuk hiburan baharu

and maybe even a new form of art.

dan mungkin juga bentuk seni baharu.

I am convinced that in the coming years,

Saya yakin bahawa dalam tahun yang mendatang,

we will see more and more moving and meaningful interactive experiences,

lebih banyak pengalaman interaktif yang menyentuh dan bermakna

created by a new generation of talents.

akan dicipta oleh generasi bakat baharu.

This is a medium waiting for its Orson Welles

Ini adalah medium yang menunggu Orson Welles-nya

or its Stanley Kubrick,

atau Stanley Kubrick-nya,

and I have no doubt that they will soon emerge

dan saya yakin bahawa mereka akan muncul tidak lama lagi

and be recognized as such.

dan dikenali seperti mereka.

I believe that interactive storytelling can be

Saya percaya bahawa penceritaan interaktif boleh menjadi

what cinema was in the 20th century:

seperti wayang pada abad ke-20:

an art that deeply changes its time.

sebuah seni yang mengubah zamannya.

Thank you.

Terima kasih.

(Applause)

(Tepukan)