Game Review: Gran Turismo #retroreview
Debuting on the first generation of Playstation in 1997, this video game was the first to present truly accurate physics of driving, making it one of the most technologically advanced simulation games for a retro console with more than 10 million units sold (Vaughn, 2019). Upon opening the game package, the first booklet encountered explains real driving techniques and physics. Then, the second booklet explains actual game play. Immediately, the importance of real driving becomes apparent. While the arcade mode affords players the ability to drive sporty cars and race against an artificial intelligence algorithm for a more casual gaming experience, the simulation mode creates hours of rich driving experiences.
Gran Turismo revolutionized the way driving games were played by allowing the player to immerse themselves into a world where their own cars can be bought from a selection of 140 and modified with extreme specificity including the engine, suspension, and aerodynamics. These small details create player investment in the virtual life being built within the game. The essential feature of passing license level exams to unlock higher levels within the game adds a more complex level of learning that would occur in real life. During the time when platformer games (Mario Brothers) and narrative choice fantasy games (Final Fantasy) were popular, Gran Turismo allowed the player to choose the level of involvement and the trajectory of success. Instead of the game imposing specific story lines or missions to shape the player’s experience, the simulation mode afforded an ability to build a realistic yet virtual world with respect to car ownership and racing.
Unlike other racing games such as Need for Speed II (1997), Gran Turismo features 18x more car options with car modifications that actually change the drive/play mechanics of the game with increased speed or better handling (Rubenstein, 1997). Additionally, the simulation mode allows a space where players are able to build their skills and cars, constructing their own virtual path of achievements. Although there seems to be no true “message” in Gran Turismo compared to games such as Braid that comment on gender tropes and the Manhattan project, this freedom to build a car-based reality may be Kazunori Yamauchi’s way of conveying that the actual act of driving and cultivating achievements is the point. The driving and improvement of driving to the contentment of the player is the objective, or message. He may be demonstrating that although the goal is to win races and become a better driver, the player can do this on their own time, considering their own specific preferences for cars that would be a choice in reality. Other games may be more labor intensive acutely and thus more rewarding to beat, but the objective of Gran Turismo is centered on the act of driving play chronically instead of beating the level of a game just to win.
Even though winning the races may be the objective of entering a race, there is ultimately no concept of “beating the game” because even though the license types may be unlocked and all courses may be won, the actual value of the game comes from being able to improve race times or improving driving through mastery of game mechanics. Even after mastery, one can still race and it is not “boring” because there is no true puzzle to solve that becomes obvious once solved. The thrill of competition does not easily fade because each race is unique due to its dependence on the player’s condition. Each round of races demands player attention every second even though the track may be familiar. Over time, the habit of playing this game and expanding the cars in the garage can create an escape from real life into a highly realistic virtual world that results in high player investment. The loyal base of players then are more likely to buy the new versions of the game that offer better mechanics or more car choices, but the premise of the game does not change.
Most importantly, players can keep the reality of their lives while integrating this game as a part of their life because there is no specific narrative or forced perspective characteristic of FPS or VR games. Although the game functions with a token reward system from winning races that can be traded in for cars, the real reward for players can be argued to be the cerebral rush of racing, drifting, and viewing the car statistics on their screen. Galloway explains, “Where film uses the subjective shot to represent a problem with identification, games use the subjective shot to create identification” (Galloway, 2004). In other words, the player identifies themselves as the driver of the car. Extending this claim, the player bridges their own life into the game without losing their external identity because there is no actual character or story that overtakes the player. The designer’s decision to have the car within the view of the screen instead of the point of view being in the car as in Need for Speed must be purposeful. After all, there would be little point in having such a rich selection of cars if the player could not enjoy this feature during gameplay.
A more modern eye might recognize that there is a lack of the human form (and hands) in this game. As opposed to scantily-clad women at the beginning of a race as in Street Racing Syndicate, there is just a normal three second countdown with views of the chosen car in Gran Turismo. This is a subtle point of the game where the creator does not necessarily push back on objectified women in a game because the era of female objectification intensifies after the retro video games. However, the lack of human form within a game that has machines which would normally be operated by humans helps players to feel more immersed without the distraction of character representations. For women playing this game, just focusing on the car instead of an objectified woman at the beginning of the race or an obviously masculine figure representing the player could feel more welcoming. There are no marketing gimmicks or appeals to the male gaze in this game. Instead, it is simply a purist mechanical driving game that heightens the technical standard of the genre.
Gran Turismo is principally a simulation game that expanded the definition of game mechanics due to its complex programming and increased player control of the cars. Even though the game becomes more technically complex, arcade mode can be seen as an olive branch to more casual players who are looking for a cathartic experience demanding full attention without the complexity of a puzzle or stories. Much like Minecraft, the emergent narrative quality of simulation in Gran Turismo allows gamers to have control constructing their own driving stories at a self-determined pace. The qualities of accessibility to a wide audience (including younger children that cannot yet drive who are very curious) and a sense of self determination may be two factors contributing to this niche game’s wild success.
Works Cited
Galloway, Alexander r. (November 2004). “Origins of the First Person Shooter” pp.69
Rubenstein, Glenn (April 17, 1997). "Need for Speed II Review". GameSpot.
Vaughn, Mark (June 3, 2009). "Six questions for the creator of Gran Turismo". AutoWeek Magazine.
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