Few franchises have received as much praise for their narratives as Life is Strange, so it isn’t a total surprise that the series just received a spin-off in the form of the novel Steph’s Story. This might seem to some gamers, however, like a spin-off too far. Video game adaptations don’t exactly have a reputation for capturing the quality of the source material. However, here is a genuinely great piece of work that reflects a series of stories keen to punch above expectations.
Many of the most significant series in gaming have leaped across to the printed page. Doom is the perfect example of an unlikely candidate making that jump. Its original two titles were basically plotless games that managed to spawn a galaxy-spanning quartet of novels. Halo is undoubtedly the most successful example, having churned out 30 novels and 15 comic book series.
There tend to be common threads amidst pretty much every example, however, that makes these feats less impressive. Sometimes they’ll bring in video game mechanics, the first Doom tale being uniquely laughable in how its protagonist scurries around for keycards and avoids acid pits. Halo is just simply workmanlike, unable to capture the games' surprising awe and wonder amidst otherwise familiar military fiction.
Halo is just simply workmanlike, unable to capture the games' surprising awe and wonder amidst otherwise familiar military fiction.
There’s also a timely point of comparison with Resident Evil, a series which has sold millions of games but has an extensive number of lesser-known books. There were seven novels released in the West in the late ‘90s and early ‘00s, and many others that have never been translated into English. It’s perhaps telling as to their quality that they haven’t been reprinted recently, and that the notoriously poor films starring Milla Jovovich are much better known.
The existence of books can’t be seen, either, as symbolic of the narrative demanding to leap onto the printed page. Resident Evil is, after all, the franchise that jumped the shark somewhere between boulder-punching Chris Redfield and the infamous “Jill Sandwich” line. It’s representative, instead, of a corporate-driven era where even Sonic the Hedgehog has had multiple animated shows and two concurrent comic books.
It’s become abundantly clear over the decades that not every franchise needs adaptation, and especially does not ask to appear on the page. Life is Strange, however, carries somewhat less risk because it’s a franchise that demands being treated with respect. The original tale received a BAFTA for its narrative in 2016, beating out widely, reverently praised competitors like The Witcher 3 and Everybody’s Gone to the Rapture. It had devastating emotion, rich characters, and profound ideas that have kept the franchise going for nearly a decade. Part of what makes the games work so well is the player choice, but there’s been enough care and attention to translate even that in a way that makes sense within different mediums.
The long-running comic book sequels have already set an impressive standard, as they carry on Life is Strange’s legacy with much more than the bare minimum. Even the most casual observer would notice that they are absolutely gorgeous, and this is a quality that threads right from the start of the run in 2018 to its conclusion in 2022. There are so many images that are astounding enough to be worthy of framing on the wall. Most important, however, is how they capture the characters so perfectly that you never doubt this is an official follow-up to the games. These are qualities which can’t be said even for many of the halfway good, often visually drab Star Wars comics from across the years.
Real effort was put into making the comics more than a time-filler or safe reminder of what’s already been. The work that’s been done to deepen this existing universe mirrors the acclaimed video game sequels of Before the Storm and True Colors, developed by a different, similarly talented studio to the series’ originators. They give much-needed diversity to the cast of characters, for one, with iconic returnees Max and Chloe having a wider, less white circle of friends. They also deepen what are already challenging themes by testing the choices in the game, interrogating whether its characters can live with them. It is a little too optimistic given that it follows its source’s darkest ending, but is still a thoughtful, gorgeous, and altogether exceptional sequel.
Translating this world into book form, however, seemed like a risky decision that could’ve pushed the story’s writing to breaking point. Life is Strange has, at worst, been a bit too earnest and even a little contrived – yet its atmosphere is able to make those concerns almost moot. This book, Steph’s Story, has the particularly difficult task of weaving together the backstory for fan-favourite Steph, a self-assured, Dungeons & Dragons-loving, punky lesbian. There’s a high level of responsibility to not tarnish what fans know about the character whilst also feeling like it’s exploring an important part of the character’s life. Thankfully, the book makes the most of its format, focusing on the thoughts, feelings, and subtleties of an unseen period in Steph’s life.
Thankfully, the book makes the most of its format, focusing on the thoughts, feelings, and subtleties of an unseen period in Steph’s life.
Steph’s Story feels like genuinely quality fiction, exploring the mindsets of the complex lead and her equally wounded girlfriend, Izzy. Her backstory largely involves her trying to cope with the destruction of Arcadia Bay in one of the original title’s endings, whilst navigating a troubled relationship. It explores some serious issues through this journey, whether it’s seasonal affective disorder, transphobia, or handling the needs of friends, family, and partners. The series’ focus on choice is still central, too, in exploring how big and small actions can change our relationships. Its realistic approach and intimate storytelling make it one of the most mature Life is Strange tales.
Most video game adaptations fail because they don’t take advantage of the opportunities that the written word offers. This book follows a pattern set already by the comics of doing more than expanding on lore, or giving gamers the chance to spend more time in a much-loved universe. It’s a rich enough read that it improves the games by making a more distinctive character, and True Colours’ affection for its characters better-earned. But it largely uses the source material as a launchpad, trusting fans to engage with an adventure that isn’t reliant on ideas put forward before. Steph’s Story doesn’t feel like it has been downgraded to reach the page, and has the rare achievement of being an essential, independent part of its series.
It isn’t much of a surprise that Life is Strange’s achievements across mediums aren’t widely discussed, given that stories are sensitive, women-led ones which involve little violence. The Last of Us is an equally accomplished, cross-medium success that is character driven too, but has seen its appeal aided by the grim tone and macho violence. It doesn’t matter how much that’s subverted, as those familiar touchstones are still there. Video gaming might have produced countless great works that don’t lean on such conventions, but the public imagination still is hooked on the idea of its defining titles being epics of adrenaline, machismo, and murder. Life is Strange shows the potential of video game storytelling to cross mediums, and if the industry is to grow, these achievements need recognition no matter how much they buck trends.
For more on the Life Is Strange series, find out why the games probably won't be going back to an episodic format and check out IGN's review of Life Is Strange: True Colors.
Continue reading...
A History of Video Game Novels
Many of the most significant series in gaming have leaped across to the printed page. Doom is the perfect example of an unlikely candidate making that jump. Its original two titles were basically plotless games that managed to spawn a galaxy-spanning quartet of novels. Halo is undoubtedly the most successful example, having churned out 30 novels and 15 comic book series.
There tend to be common threads amidst pretty much every example, however, that makes these feats less impressive. Sometimes they’ll bring in video game mechanics, the first Doom tale being uniquely laughable in how its protagonist scurries around for keycards and avoids acid pits. Halo is just simply workmanlike, unable to capture the games' surprising awe and wonder amidst otherwise familiar military fiction.
Halo is just simply workmanlike, unable to capture the games' surprising awe and wonder amidst otherwise familiar military fiction.
There’s also a timely point of comparison with Resident Evil, a series which has sold millions of games but has an extensive number of lesser-known books. There were seven novels released in the West in the late ‘90s and early ‘00s, and many others that have never been translated into English. It’s perhaps telling as to their quality that they haven’t been reprinted recently, and that the notoriously poor films starring Milla Jovovich are much better known.
The existence of books can’t be seen, either, as symbolic of the narrative demanding to leap onto the printed page. Resident Evil is, after all, the franchise that jumped the shark somewhere between boulder-punching Chris Redfield and the infamous “Jill Sandwich” line. It’s representative, instead, of a corporate-driven era where even Sonic the Hedgehog has had multiple animated shows and two concurrent comic books.
The Life Is Strange Expanded Universe
It’s become abundantly clear over the decades that not every franchise needs adaptation, and especially does not ask to appear on the page. Life is Strange, however, carries somewhat less risk because it’s a franchise that demands being treated with respect. The original tale received a BAFTA for its narrative in 2016, beating out widely, reverently praised competitors like The Witcher 3 and Everybody’s Gone to the Rapture. It had devastating emotion, rich characters, and profound ideas that have kept the franchise going for nearly a decade. Part of what makes the games work so well is the player choice, but there’s been enough care and attention to translate even that in a way that makes sense within different mediums.
The long-running comic book sequels have already set an impressive standard, as they carry on Life is Strange’s legacy with much more than the bare minimum. Even the most casual observer would notice that they are absolutely gorgeous, and this is a quality that threads right from the start of the run in 2018 to its conclusion in 2022. There are so many images that are astounding enough to be worthy of framing on the wall. Most important, however, is how they capture the characters so perfectly that you never doubt this is an official follow-up to the games. These are qualities which can’t be said even for many of the halfway good, often visually drab Star Wars comics from across the years.
Real effort was put into making the comics more than a time-filler or safe reminder of what’s already been. The work that’s been done to deepen this existing universe mirrors the acclaimed video game sequels of Before the Storm and True Colors, developed by a different, similarly talented studio to the series’ originators. They give much-needed diversity to the cast of characters, for one, with iconic returnees Max and Chloe having a wider, less white circle of friends. They also deepen what are already challenging themes by testing the choices in the game, interrogating whether its characters can live with them. It is a little too optimistic given that it follows its source’s darkest ending, but is still a thoughtful, gorgeous, and altogether exceptional sequel.
Why Steph's Story Succeeds
Translating this world into book form, however, seemed like a risky decision that could’ve pushed the story’s writing to breaking point. Life is Strange has, at worst, been a bit too earnest and even a little contrived – yet its atmosphere is able to make those concerns almost moot. This book, Steph’s Story, has the particularly difficult task of weaving together the backstory for fan-favourite Steph, a self-assured, Dungeons & Dragons-loving, punky lesbian. There’s a high level of responsibility to not tarnish what fans know about the character whilst also feeling like it’s exploring an important part of the character’s life. Thankfully, the book makes the most of its format, focusing on the thoughts, feelings, and subtleties of an unseen period in Steph’s life.
Thankfully, the book makes the most of its format, focusing on the thoughts, feelings, and subtleties of an unseen period in Steph’s life.
Steph’s Story feels like genuinely quality fiction, exploring the mindsets of the complex lead and her equally wounded girlfriend, Izzy. Her backstory largely involves her trying to cope with the destruction of Arcadia Bay in one of the original title’s endings, whilst navigating a troubled relationship. It explores some serious issues through this journey, whether it’s seasonal affective disorder, transphobia, or handling the needs of friends, family, and partners. The series’ focus on choice is still central, too, in exploring how big and small actions can change our relationships. Its realistic approach and intimate storytelling make it one of the most mature Life is Strange tales.
Most video game adaptations fail because they don’t take advantage of the opportunities that the written word offers. This book follows a pattern set already by the comics of doing more than expanding on lore, or giving gamers the chance to spend more time in a much-loved universe. It’s a rich enough read that it improves the games by making a more distinctive character, and True Colours’ affection for its characters better-earned. But it largely uses the source material as a launchpad, trusting fans to engage with an adventure that isn’t reliant on ideas put forward before. Steph’s Story doesn’t feel like it has been downgraded to reach the page, and has the rare achievement of being an essential, independent part of its series.
It isn’t much of a surprise that Life is Strange’s achievements across mediums aren’t widely discussed, given that stories are sensitive, women-led ones which involve little violence. The Last of Us is an equally accomplished, cross-medium success that is character driven too, but has seen its appeal aided by the grim tone and macho violence. It doesn’t matter how much that’s subverted, as those familiar touchstones are still there. Video gaming might have produced countless great works that don’t lean on such conventions, but the public imagination still is hooked on the idea of its defining titles being epics of adrenaline, machismo, and murder. Life is Strange shows the potential of video game storytelling to cross mediums, and if the industry is to grow, these achievements need recognition no matter how much they buck trends.
For more on the Life Is Strange series, find out why the games probably won't be going back to an episodic format and check out IGN's review of Life Is Strange: True Colors.
Continue reading...
