Author Archives: Charles Lane Burrows

The Art of Storytelling: Video Games as a New Outlet

After watching Unforgiven last week and discussing older forms of Westerns, it had me thinking about how I was initially exposed to the genre of Westerns. As far as I can remember, my first true experience with the Western genre wasn’t through a movie, a television series or any of the typical media outlets, but rather through a video game. When I was in 8th grade, I bought a video game called Red Dead Redemption, opening my eyes to what the Western genre was. It sparked my curiosity immensely, leading to me watching various famous Westerns such as Butch Cassidy & The Sundance Kid and The Good, The Bad, & The Ugly. The weirdest part out of all of that for me? Out of every Western that I’ve seen thus far in my life, the story of Red Dead Redemption is just as good, if not better, than all of them.

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Red Dead Redemption tells the story of John Marston, one of the most infamous outlaws of the West. Rather than play as this daring outlaw in his prime, the game starts in 1911, when the American Frontier is slowly dying out to commercialism and Marston is in the twilight of his career. The game opens with Marston being taken from his family by the Bureau of Investigation (now FBI), telling him that the only way he can see his family again and avoid a life behind bars is if he works with them to capture his former partners. It is a gripping tale, filled with many unique characters and events that have the player fully invested from the beginning. Marston is the perfect antihero that fits the Western story from the beginning. He is a very similar character to William Munny, in the sense that he is a guy that you love to hate, but over time your feelings for him become ambiguous as you learn more about his life. To show an example of his character, here is a quote pulled directly from Marston himself during the game:

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Thinking about this game made me realize the newer abilities of video games to tell these compelling stories. In the early days, video games were simply about collecting points and breaking high scores. There was no story, no character development, no cinematic experience. You would have never heard dialogue in a game, let alone a quote as powerful as the one above. But as graphics systems grew and games were able to hold more memory, characters became a little more fleshed out, worlds became bigger, and the stories became grander. For example, here are side-by-side images of the game Doom, released in 1993, and Red Dead Redemption, released 17 years following.

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As you can see, by 2010 the ability to recreate natural life was almost completely perfected. As video games became more realistic, their ability to tell stories of the same nature grew. Games like Red Dead, Bioshock, and Fallout all tell stories that rival some of the best tales Hollywood has ever created. This opinion really makes me a product of my generation, as even 10 years ago such an idea would have been completely absurd. However, using myself as an example, I played this game originally just for the entertainment value but left having experienced one of the most gripping stories of all time (not to spoil anything, but the ending would have made Clint Eastwood himself proud), and a new appreciation for the Western genre. Video games today provide an opportunity to become more invested than ever in a story, as you are quite literally the main character of the game. The art of storytelling has found a new medium in video games, and I hope to it will continue in that trend as games become even more realistic than they are now; allowing kids like myself to become more cultured to the world and gain more exposure to newer experiences. If not for this game, Unforgiven may very well have been my first Western ever.

The Two Sides of Marlon Brando

Before watching On The Waterfront, my only exposure to any of Marlon Brando’s work was his role as Don Vito Corleone in The Godfather. I knew of his work but had never taken the time to see any of his other films or learn more about him, so after watching On The Waterfront I decided to learn a little more about Marlon Brando as a person. Besides the obvious facts & figures that can be found about awards he had won and such, something that really caught my eye was this conflicted image of who Marlon Brando really was.

On one hand, Brando was an unbelievably generous and caring person. He used his status as an American icon as a platform to advocate for many social causes. He was particularly involved in the civil rights movement in the early 1960s. In fact, he was so deeply moved by Martin Luther King Jr. and his assassination that he even backed out of a role in The Arrangement, also directed by Elia Kazan, to dedicate his time to promoting the cause (Mell). Here’s a clip I found of Brando on a talk show with other famous actors such as Charlton Heston discussing their views on the civil rights movement.

Civil Rights 1963 – James Baldwin and Marlon Brando

In this clip, he also mentions the mistreatment of Native Americans, another cause Brando advocated for. Brando was particularly bothered by the mistreatment and typecasting of Native Americans in Hollywood. He famously protested this by declining his award for Best Actor for his role in The Godfather, sending a woman named Sacheen Littlefeather to decline his award and nationally address this issue, seen here:

Marlon Brando’s Oscar® win for ” The Godfather”

Based on all this, you would assume that Brando is an outstanding and morally good individual. But, on the other hand, after I perused the Internet I discovered that Brando wasn’t always as morally good as his actions may have let on. To pull a quote directly from his biography,

“Although Brando avoids speaking in detail about his marriages, even in his autobiography, it is known that he has been married three times to three ex-actresses. He has at least 11 children. Five of the children are with his three wives, three are with his Guatemalan housekeeper, and the other three children are from affairs. One of Brando’s sons, Christian Brando, told People magazine, “The family kept changing shape. I’d sit down at the breakfast table and say, ‘Who are you?'” (Biography.com Editors)

Along with his promiscuous lifestyle, I learned that his son Christian (quoted in the biography earlier) was also a convicted murderer and served ten years in prison. When Brando was called to the witness stand, he blamed himself for the incident by not being a good enough father to his son. He was quoted as saying, “I tried to be a good father. I did the best I could.” (Biography.com Editors). This created a multi-faceted person for me, and I was very internally conflicted about how I felt about Brando as a person.

Ultimately, it is a judgement call. Public perception praises Brando as an influential and a man of outstanding character, but the reality is that there are several wrenches thrown in that can lead to doubt about his individual character. Personally, I believe that a few transgressions should not defame a man who has done so much good in this world, especially in a world where many actors choose to avoid controversy at all costs. In Brando’s case, the good absolutely outweighs the bad, and I can now see why he is considered one of the greatest actors of his time.

http://www.biography.com/people/marlon-brando-9224306
https://books.google.com/books?id=8AMyBgAAQBAJ&pg=PA21&lpg=PA21&dq=marlon+brando+the+arrangement&source=bl&ots=V-FF-VUJ7U&sig=KEJeYqMdjnY5zYIHKSloFY47gcg&hl=en&sa=X&ved=0ahUKEwj9gfbIzJHLAhUIPj4KHbLMAGEQ6AEISDAL#v=onepage&q=marlon%20brando%20the%20arrangement&f=false

The Grapes of Wrath’s Foreshadowing of the Cold War

As we briefly touched upon in the discussion of this film, “The Grapes of Wrath” can be symbolically used as a criticism of the capitalist system during the 1930s, specifically the proletariat being exploited by the system. Critics labeled the film “socialist” or “Marxist”, and farming unions and government agencies alike condemned it.

Clell Pruett burns a copy of The Grapes Of Wrath as Bill Camp and another leader of the Associated Farmers stand by. “One member of the county board of supervisors denounced the book as a 'libel and lie.'

Clell Pruett burns a copy of The Grapes Of Wrath as Bill Camp and another leader of the Associated Farmers stand by. “One member of the county board of supervisors denounced the book as a ‘libel and lie.’

Despite critics in the United States giving the film a Red label, it received a different criticism from a country that no one could question fit all of those same labels: the Soviet Union. In 1948, Joseph Stalin allowed theaters in the Soviet Union to show “The Grapes of Wrath” for reasons that we can assume to be anti-capitalism propaganda, showing destitution that the Okies endured in the face of an oppressive capitalist system (Whitfield). Just a few short years after these two countries were allied in the Second World War, now propaganda attacks against each other were the norm and tensions were rising.

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This screening of “The Grapes of Wrath” in the Soviet Union, however, did not land the way that Stalin anticipated. Rather than stir up anti-capitalist emotions, the Soviets that viewed “The Road to Wrath”, as it was titled in the U.S.S.R, were in complete awe that even the poorest of the poor in the United States were able to save their money and afford an automobile. As the wrong message continued to spread, Stalin decided to pull the film from theaters after a few short weeks (Whitfield). In this sense, “The Grapes of Wrath” aptly foreshadowed not only the Cold War itself but the outcome and the reasons behind it. The definition of the term “poor” in the two countries was vastly different, and the enormous economic gap between the capitalist system of the United States and the centrally planned economy of the Soviet Union was clear. There is a particularly funny quote from the text that I discovered, regarding the poor central planning of the Soviet economy: “Ineptitude and inefficiency permeated the command economy he (Stalin) established—so much so that, had the Kremlin ever gained control of the Sahara, Western analysts liked to quip, there would soon have been a shortage of sand.”

I thought that this anecdote about the “The Grapes of Wrath” was a very interesting insight into the future of our country, much more than Ford ever planned or anticipated, and added an extra layer to an already complex tale.

Sources:
http://lisa.revues.org/802?lang=en#ftn2
http://www.pbs.org/wnet/need-to-know/culture/slideshow-steinbecks-salinas-valley/16441/#3

Examples of american cold-war propaganda