Cahiers du Jeux Vidéo is a series of posts comparing the narrative mechanisms of video games and movies with (hopefully) a bit more depth rigour than your average commentator breathlessly comparing Halo preorders to box office receipts. It’s named after foundational French film magazine Cahiers du Cinéma , because I’m a pretentious prick.
For the most part, TV shows or movies do not show you how the sausage gets made. There isn’t time, unless you’re Alfred Hitchcock, to show your lead character on the loo in a break between plot beats. You don’t need a forty-minute interlude of somebody driving on a freeway to understand how someone got from one location to the next between scenes. The magic of editing allows time to be compressed, the boring bits skipped over, leaving audiences with a lean meal of all the best bits. This is how it’s always worked. We are all on board with it. We understand that most of the “process” of these character’s lives and stories get skipped over. Video games, for the most part, are free of editing. They’re all about playing the process.