An Ode to Objects 8

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Games are all about sys­tems. Games are all about sto­ries. I’d say both of these state­ments are true a lot of the time. The inter­ac­tion between these two cen­tral forces is a lot of what makes games such an appeal­ing art form. Also, as I tend to harp on from time to time, we should not for­get the fun­da­men­tal role of spaces and char­ac­ters in this. In many mem­o­rable games, it’s the places and peo­ple that stay with me long after I fin­ish play­ing. But today I want to talk objects (or items, things). The loot, the weapons, the inventory‐fillers. Objects like these are found in abun­dance, par­tic­u­lar­ly in RPGs and adven­ture games, gen­res in which item manip­u­la­tion plays a cen­tral role in advanc­ing the game by solv­ing puz­zles, the prob­lems of other char­ac­ters, and defeat­ing ene­mies.


The sword Lilarcor — the Baldur’s Gate series had lots of love­ly pen­cil sketch­es for its items, many of them unique.

First, I should say that in many games, items do not play a mod­est role. In first per­son shoot­ers, for exam­ple, you gen­er­al­ly do not have an extreme­ly large set of weapons at your dis­pos­al, and each one may grow to be like a close com­pan­ion rather than a mere tool. While they are not my main point of inter­est here, some items can ascend to the rank of char­ac­ter. One of the more cre­ative inven­tions to come out of — or rather, pop­u­larised by1Dungeons and Dragons are magic objects that can actu­al­ly speak. The sword Lilarcor from Baldur’s Gate II is a prime exam­ple2. Although he was there par­tic­u­lar­ly for comic relief, he’s also a very decent two‐handed sword +3 — although Lilarcor him­self claims that he used to be a moon­blade and that his broth­er is a +12 ‘hack­mas­ter.’ Essentially, such talk­ing items are (minor) NPCs, although rel­a­tive­ly inter­est­ing ones because of their unusu­al form, and they often have a back­sto­ry to explain how they became sen­tient: a trapped soul, a spell gone awry, or just a mys­tery.

An item need not be talk­a­tive to lend char­ac­ter to a game, though. They can hold sto­ries with­out need­ing to be able to give voice to them lit­er­al­ly. The jour­nals in Planescape: Torment — espe­cial­ly the dodec­a­he­dral jour­nal and the Unbroken Circle of Zerthimon — are beau­ti­ful exam­ples of items with great sig­nif­i­cance to the plot, and which afford a deep­er level of inter­ac­tion through the game’s dia­logue sys­tem.

But what I real­ly want to talk about is some­thing more hum­ble: not nec­es­sar­i­ly the items in the star­ring roles, but the lit­tle ones that are (most­ly) there for flavour. For all its faults, which I won’t elab­o­rate upon today, this year’s Thief reboot did a few things right. One of these is the game’s col­lectible trea­sures. There are over eighty spe­cial loot items scat­tered through­out the game, grouped in the­mat­ic sets: flower brooches, memo­r­i­al rings, female cameos, etc. Each set has a par­tic­u­lar design, and the indi­vid­ual jew­els are mod­elled in 3D and can be admired as part of Garrett’s per­son­al col­lec­tion after find­ing them.



Best of all are the twelve paint­ings, ‘The Court of Montonessi’, each fea­tur­ing a the­ri­omor­phic por­trait and a theme of vice and deca­dence. Montonessi was appar­ent­ly a famous but men­tal­ly unsta­ble artist in the City of Thief, and his works can be found in var­i­ous places, includ­ing the asy­lum where Montenessi was a patient. You can tell the designer(s) respon­si­ble for these items rel­ished the oppor­tu­ni­ty to imple­ment a series of con­cep­tu­al sets like these. If only the jew­ellery had had a tad more vari­a­tion in the designs. At least it’s a lot more aes­thet­i­cal­ly sat­is­fy­ing than see­ing your gold counter leap up a large amount.


Honestly, even just adding a bunch of dif­fer­ent gems to a game is enough to make me smile. Sure, you can express every­thing direct­ly in gold pieces in your game, but there is some­thing about dif­fer­ent colours and sparkles that gives an extra bit of atmos­phere, even if all those gems are offloaded into your inventory’s gem bag, wait­ing to be fenced.

Weapon design in RPGs is also a pet peeve of mine. These games tend to flood play­ers with myr­i­ads of weapon vari­eties and sub­types to enable us to fine tune our char­ac­ters’ com­bat abil­i­ties. This is all well and good, but per­haps it’s an idea to con­sid­er some par­tic­u­lars. Read my lips: No more longswords +1, ever. None. Please give every sin­gle item some real flavour, some colour, some his­to­ry. This can be a spe­cial in‐game effect (spe­cial dam­age, lim­it­ed use of a cer­tain spell, and the like), or just some­thing non‐functional that makes it stand out (a back­sto­ry, a par­tic­u­lar visu­al design). Yes, that takes work, but your play­ers will feel reward­ed, because they’ve actu­al­ly found some­thing worth find­ing.

We can even extend the idea to objects that are lit­er­al­ly part of a game’s back­ground. I’m far from the only one who likes to look at the way the lit­tle things are imple­ment­ed in game worlds. How about plants, flow­ers, and trees? Or food? The one about toi­lets is sadly defunct. What I’m try­ing to get at is that an eye for item design, whether it is through text and pixel art or detailed 3D mod­el­ling, can enhance the aes­thet­ic appeal of your game world to a great degree. As we’ve seen, this can be applied to all kinds of items, whether func­tion­al in‐game objects such as weapons, cloth­ing, doc­u­ments, etc. to mere back­ground and filler mate­r­i­al.

Of course, I realise that games have tight art bud­gets, and that most effort should go into mak­ing sure the main char­ac­ters and set pieces look as good as pos­si­ble. All the same, if it were up to me, I’d reserve some of that effort to brush up the fine details, and achieve some­thing of an aes­thet­ic bal­ance. For is it truly a virtue if a game can ren­der the protagonist’s indi­vid­ual nose hairs, yet you keep see­ing the same three or four paint­ings and tapes­tries in every level the game throws at you?

So, if I have one hope for upcom­ing games, par­tic­u­lar­ly RPGs — I’m look­ing at you, Pillars of Eternity, Torment: Tides of Numenera, and Dragon Age: Inquisition — it is that their undoubt­ed­ly tal­ent­ed artists will get some free rein to spend their time and cre­ativ­i­ty on objects, those (most­ly) silent inhab­i­tants of our game worlds. And gems. Give me them.

The thief col­lectible images were taken from this Thief guide by Steam user dimmu1313: http://​steam​com​mu​ni​ty​.com/​s​h​a​r​e​d​f​i​l​e​s​/​f​i​l​e​d​e​t​a​i​l​s​/​?​i​d​=​233717834

I would love to hear about your favourite (minor) item designs in games. Let me know in the com­ments, or tweet me @qwallath.

  1. The talk­ing sword in pop­u­lar cul­ture is at least as old as Tolkien’s First Age mythol­o­gy (as told in The Silmarillion and The Children of Húrin), where the sword Gurthang says it will glad­ly drink the blood of its mas­ter, Túrin Turambar. Tolkien him­self was inspired by the Finnish myths of the Kalevala in this instance. []
  2. https://​www​.youtube​.com/​w​a​t​c​h​?​v​=​n​q​-​u​_​J​59​OyA []

Odile Strik

About Odile Strik

Odile A. O. Strik is editor-in-chief of The Ontological Geek. She is also a linguist from the Netherlands. She occasionally writes in other places, such as her own blog Sub Specie. You can read her innermost secrets on Twitter @oaostrik.