I have three other naming techniques to talk about. Combined with
the previous rules I think I've classified most of the interesting and
a lot of the not-so-interesting English game names ever created. Of
course this is mostly because "metonymy" is such a vague term.
All three of these naming techniques seem to take a cue from some
other kind of media. It would be interesting to explore how these
work in more detail, but not right now. Also I haven't come up with
a lot of examples.
Sometimes the title gets in your face with some attitude. (You
Don't Know Jack, No More Heroes, The World Ends With You, Devil May
Cry, Doom) Most of these could also be the names of rock
albums. These names have only a tenative connection to the game's
subject matter; they're more oriented towards describing the mood or
atmosphere of the game.
Some games have names based on cliches. Either you adopt the cliche
wholesale or you modify it to make a pun. (A Boy and His Blob, Grand
Theft Auto, Deus Ex, Devil May Cry again). Episodes of TV shows are
also frequently named this way. I don't know why episodes of TV
shows have these stupid punny titles, but if I ever figure that out
I bet the reason will be similar for games. These tend to be games
from Western developers, though presumably there are similar names
in Japanese that don't translate. A lot of licensed and
franchise games have subtitles based on cliches.
Some games are named the way you would name a book or short
story. Well, lots of these rules also apply to story titles. I've
mentioned before stories named after characters or settings. But
here's what I think I mean in this instance.
When game titles have a tense or a person, it tends to be present
tense and second person. All those job-title names have an implicit
"You are the" prepended to them. "Hunt the Wumpus" is one game that
makes this more explicit. Titles of stories are more commonly third
person and past tense, so pretty much any game title you come up
with that fits those criteria will have a literary, un-gamelike
feel. This is why those seen-from-outside titles like "Leisure Suit
Larry" are so interesting: they're implicitly third person.
A lot of Infocom's games fit this pattern. Sometimes they used the
"job" type of synecdoche, which almost never appears in book titles,
but the "jobs" were things like "Witness", "Suspect", and "Infidel":
descriptions with a third-person, seen-from-outside quality rarely
seen in video games. It's hard to say whether "Suspended" is second
or third person, which is also true of the gameplay. "Leather
Goddesses of Phobos" achieves a literary sensibility (albeit a
lowbrow one) with a neat third-person trick. The singular, "Leather
Goddess of Phobos" could conceivably be second person, but you can't
use the second person plural in a single-player game. ("Mario Bros."
is second person plural, as I'll mention later.)
Now let's move on to sequel rules. The obvious way to name a
sequel is to tack a number onto the name of the original. This is
surprisingly rare. I thought it was more common than it was because
a lot of NES games had one or two numbered sequels, as did some
computer games when I was growing up. All those Sierra adventure
series used this technique, and the Mega Man, Final Fantasy, and
Metal Slug series still do. (I like to imagine the Metal Slug series
sticks to numbered sequels so it can be the video game equivalent of
the Rambo series.)
The march of technology makes long-term sequel numbering (ie. more
than two sequels) untenable. Those NES games were all on the same
system. Someone who bought Zelda II wasn't left wondering where the
original Zelda was. But I still don't know where Mega Man 8
is. The Playstation or something. When a series spans consoles, you
need to name your games such that people don't feel like they're
missing out.
So how are sequels named? Sometimes they get totally different
names and you're just supposed to know it's a sequel. The problem with
this is illustrated by the Riven box, where it says "THE SEQUEL TO
MYST" in big letters. More often, subtitles are deployed.
A subtitle is just another game name stuck onto the name of the
franchise. When people talk about the game they use the subtitle as
shorthand. Applicable are a subset of the rules for naming
games. The trademarkability rules don't really apply because you've
already trademarked the francise name, and because "Sensible Phrase:
Nonsenseword" looks stupid and "Nonsenseword: Anothernonsenseword"
looks stupider. But the name-it-after-a-cliche rule is in full
force. Maybe for the same reasons it works for episodes of TV shows
but not so well for the TV shows themselves.
Metonymy and synecdoche also work well (the Castlevania series uses
this). Even franchises that use a numbering system (Mega Man, Final
Fantasy, Grand Theft Auto) need to also use subtitles when the
family tree passes a complexity threshold.
Sometimes instead of a subtitle the original title gets mutated using one of the rules mentioned earlier. This is how you get tech-demo titles like "Super Mario 64". This avoids the Riven problem while keeping the game name down to a reasonable size. There are also a couple sequel-specific mutation rules that I don't want to discuss in detail. (Super [whatever], Ms. Pac-Man, N+)
Although movie sequels often have subtitles, the rules for movie
subtitles are different from the rules for game subtitles. I don't
have a good grasp of how they differ, but try this thought
experiment. Take the most famous set of movie subtitles, for the
Star Trek series, and apply them to The Legend of Zelda, the most
famous video game series.
Though they're in different genres, both Zelda and Trek are
fundamentally about exploration. There's no thematic reason why you
couldn't have a Zelda game called "The Wrath Of Ganon" or "The
Search For Link" or "The Voyage Home" or "The Undiscovered
Country". They just don't feel like game subtitles (except for the
single-word subtitles, "Insurrection" and "Nemesis", which might be
a clue).
Next time: close readings of my favorite game names.
(6) Tue Feb 03 2009 22:19 How Game Titles Work, Part 4: The Voyage Home:
I thought I had come up with a hard-and-fast rule about games that
mention celebrities' names: that they're limited to the
category of sports games and other games based on real-world
activities. My reasoning is that celebrities (as opposed to any
characters they play) engage in real-world activities, so that's
what the games would be about. Then I remembered "Shaq-Fu" and
"Michael Jackson's Moonwalker". In defense of the rule, Shaq and
Michael Jackson are kinda crazy, albeit in different ways.