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But I definitely think that, philisophically and theologically, BioShock makes some incredibly interesting and thought-provoking points/claims/statements that are worth looking into. It's a fantastic example of the video game as art."
The intro to HL1 was ridiculously long, but to this day I still admire the the developers for taking such a huge risk in presenting the HL world via the infamous elevator ride."
I think the hatred for cutscenes comes not from the fact that they are the "wrong" way to open a game, but that they are overused, when, as games like HL2 and Portal prove, they aren't always necessary.
But Valve has a very interesting method of storytelling unique to them. Instead of using cutscenes, they use environment elements: graphitti, GLaDOS's constant chatter, a news report on a TV screen, etc. This is a brilliant way to set up a story in a game, and for games like Portal, HL2, and L4D it's the "right" way to tell the story. But in other games it's not always a good fit. If every game on the market used this method, games would start feeling stale, and the "environental element story type" would be the thing we'd be complaining about instead of cutscenes.
Games need to carve their own niche into the market, and bringing new types of storytelling to the table is just one of the ways to keep things fresh."
Consider the intro to Portal, where you are locked in a room until GLaDOS finishes her speech. You are STILL able to control the character and interact with elements in that tiny room. You can try to flush the clipboard down the toilet and smash the coffee mug against the wall, for example. Sure, it's limited, but it gives you something interesting to do while the intro is running its course. And don't forget that HL2 lets you throw things at the guards, if you want to risk an early death.
It is this interaction that differentiates video games from film.
Here are some examples that have nothing to do with story but everything to do with interaction: New Super Mario Bros. Wii allows players to break bricks during the end credits. Super Smash Bros. Brawl allows you to shoot at the figurines you have earned as the credits roll. Players are much more likely to sit through the credits of these two games than they are in other games when the credits are merely blocks of scrolling white text against a black background."
I am proud to admit, though, that I did 100% Twilight Princess."
Half-Life 2 attempts a similar technique, although they give players a lot more control. But what players don't get is a weapon of any sort. (Although it is quite fun to hurl garbage at the Combine soldiers, prompting them to chase you.) In fact, the first time through, I was surprised at how far into the game you get before you actually get a weapon, and when you finally get one it's the meager crowbar. Yet Half-Life 2's intro is one of the most brilliant in a video game. Ever.
In fact, Half-Life 2 is great at giving players story elements without resorting to the dreaded cutscene. Yes, there are a few cutscenes, but most of the plot comes from character interactions, or video footage you see as you pass by a television set conveniently left on, or by peering out a window and seeing some important event playing out in the street.
HL2 proves that a video game can tell an incredible story without resorting to cutscenes or huge blocks of text. I think more games should follow its lead."
I do understand the complaint about the homing attack. "How dare they ADD to classic Sonic gameplay!!!" But you need to consider the fact that Sonic 2 added the spin dash, and Sonic 3 added the various types of shields. Sonic and Knuckles added Knuckles as a playable character (and playable in 2 and 3 if you connected the games.) I personally think the homing attack added some interesting new gameplay, but I also think situations that required it were a bit overused in Sonic 4.1."
And great micro-analysis of War of the Worlds. I haven't read that one myself yet, but it's pretty high up on my to-read list."