An examination of multimodal storytelling
Overwatch is an interesting IP from Blizzard. From playing the open beta, it’s clear the Overwatch team created a robust world full of rich characters with diverse backgrounds. There’s only one problem: there’s no campaign, story mode.
From a gameplay perspective, it’s understandable why the development team omitted a campaign mode. FPS games are known for weak single-player content in favor of strong multiplayer PvP content. In fact, modern FPS games like Titanfall and Rainbow Six: Siege both left out the single-player campaign modes. There are valid points made by both of these studios that a minority of people play the campaign, even fewer finish it, and it focuses developer time and money a part of the product that is primarily ignored.
So it makes sense that Blizzard focused only on the multiplayer gameplay, especially since this is their first new IP since Diablo III (Heroes of the Storm (HotS) and Hearthstone don’t count since they borrow characters and lore from other Blizzard games.).
But here’s the issue: Blizzard has always been a storytelling juggernaut. The World of Warcraft lore is rich, deep, and complex, stretching across a multitude of expansions and games, and Diablo and Starcraft both have well crafted stories and lore built with each release and expansion. Even Hearthstone has an “alternate universe lore” approach, and HotS exists to throw all these characters together.
Thus, the lack of a story mode in Overwatch seems odd from a historical context. From listening to friends and podcasts, this seems to affect attitudes towards the game negatively and makes the game seem less interesting.
Stumbling Across the Lore
While I was initially put off by the lack of a campaign mode as well, playing the open beta completely changed my mind. I played a lot of D.Va and began to notice that she interacted with a few characters. Lúcio asks D.Va for her autograph, and she replies that she loves his new album. Widowmaker chides D.Va as being a child, and D.Va protests “Who are you calling a child?!”
I also began to notice other character interactions, and the subtle environment references and associations with other character. At the same time, the animated shorts Recall and Alive released, and then I learned about the comics. That’s when it hit me:
Blizzard wants to tell the stories of Overwatch. They want to show off the characters, environments, and story they worked hard to build this FPS around. They are just giving it to us in a multimodal way, which makes the lore of Overwatch accessible to everyone.
By putting all of the developers’ efforts towards the gameplay, the core of the game is refined and honed well before the launch. This allows the marketing and creative teams the bandwidth to tell the stories of Overwatch through various mediums that allow the game to be accessible by more than those who play the game.
Instagram, tumblr, Pinterest, and DeviantArt are already full of fan art and memes for Overwatch and the game isn’t released yet. My sister, who follows animation as a hobby, loves the animated shorts and is excited about the comics, but she won’t buy the game. That’s okay, she doesn’t have to.
The Lore of Overwatch is for Everyone
By presenting the lore of Overwatch through multimodal platforms, everyone can enjoy the character’s stories. Those who love FPS, but not storytelling, are able to enjoy the game itself; those uninterested in FPS are able to enjoy the lore; and those who play the game and consume the lore get the full experience. All of these are experiences Blizzard wants their consumers, and potentially future consumers, to enjoy.
In light of this, I will also be starting a Lore of Overwatch series, talking about all the shorts, comics, and in-game interactions with the characters. I hope you keep a watchful eye out for the upcoming series!