Learning the Ropes about Tropes

ENGL 3726 - Gone Home

Spoiler alert for Gone Home — Don’t read further if you want to avoid spoilers.

Just say the word “western,” and I can immediately visualize a high noon showdown, as if I were hiding behind a barrel on the porch of a saloon. Say “sci-fi,” and now we’re zipping by the stars at light speed and shooting lasers at corrupt galactic empire forces. I played a game called Gone Home recently, and everything about it was telling me “mystery” and “horror,” so you can well imagine my thoughts as I stepped into the dimly lit, sparse mansion in the middle of a forest on a dark and stormy night.

Turns out, it’s not horror — your character, Katie, is just trying to figure out why the house is empty on the night of your return from abroad. The reasons are dramatic, rich with complexity, but totally benign of anything supernatural.

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Why was I so scared, though? Why were my immediate thoughts upon entering my family’s new home, “Something horrible has happened here”? Granted, I scare fairly easily, but I think there was more than my lack of fortitude at work. I’d like to say a word about tropes, how they’re used in Gone Home, and how mystery and horror tropes were perfect for this game.

trope is an easy way to make the participant feel standard things: just like I described at the top of the post, they provide a framework for thinking about setting and emotions. I’ve definitely been one to harp on tropes in the past, but really, they’re crucial to storytelling. Without some expectation for what’s about to happen, there can be no surprises, no twists, no novel deviations — the things that are more beloved of a story. Tropes may be a heavy-handed way of establishing the expectations, but they can be incredibly important when used right!

All that said, I think Gone Home uses tropes expertly. In Gone Home, even the title screen, with its silhouettes, secluded look, and one light eerily lit, is a trope of horror, and it immediately makes you feel jittery. I even used the word “eerily” just now, and I’ve already played the game and know it’s not horror! Throughout the game there are a number of tangible cues that make you feel like something in the house is amiss: the house is called “The Psycho House”; the lights flicker constantly; your father has an obsession with conspiracies; the list goes on. My favorite example is the upstairs bathroom stained with red, but you find out it’s just hair dye.

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You might now be thinking, “So what? Why does it matter that Gone Home uses these tropes?” Well, if you think about it, this game desperately needs to rely on them. You are the only player in the game, and you have only one environment to explore. Without the notion of mystery and horror, you would have very little incentive to explore the house — actually, you would have no incentive to explore. This and many other games relies on the assurance that the player, when confronted with a mystery (Sam saying, “Don’t try to find out what happened”), will promptly disobey and begin to search. The trope of flickering and dim lights, secret passages, and a paper trail are tediously common, but they draw you in so the true story can unfold. I guess that’s what I’m trying to get across: the tropes do not make the game; they create the tension players need to discover the game.

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Moreover, I find the implications of the horror tropes in this game fascinating. How many times have you awakened in the wee hours, gone to the bathroom, and then the floor creaks in just the wrong way, making you complete your mission a little too early? Certainly in such circumstances, we have the very same tropes of horror in mind, but we can still recognize they’re just fiction, right? I think Gone Home recreates the very same effect we experience in real life. There is absolutely no danger in the game, but good grief it just feels like something is going to get you!

I’ll leave you thinking about that — is a trope really something you feel just in a book, a movie, a game? Or is it something you carry with you and project? Gone Home wrestles with these questions and blurs the lines between virtual and real experience. It makes an ordinary home come alive with mystery, mythos, and the thrill of discovery. Isn’t that what we all want, a way to make the unremarkable, unforgettable? If that’s the case for you, I have a great game to recommend.

Thanks for reading!

Matthew

4 thoughts on “Learning the Ropes about Tropes”

  1. Fascinating! I love stories that work harder to subvert tropes, and while I’ve heard great things about Gone Home, I didn’t realize that it wasn’t actually a horror game! Very interesting. It’s interesting how this effect is often used to further comedy: something that might seem scary at first is quickly dispelled and used for comedic purpose. However, I can’t recall seeing the opposite effect be implemented very often or successfully: something that might seem like normal slapstick comedy actually belies a frightening or scary situation that slowly becomes clearer to the reader.

  2. I’ve always kind of thought of the tropes that certain genres rely on to mostly be a negative thing. Characters that adhere to certain basic archetypes, plot lines that follow the same general structure, etc. all tend to bore me and remove me from whatever verisimilitude the media is trying to project. Horror is a genre in which games and movies almost always fall into the same traps of employing similar tactics, coloring, lighting, movement. I swear, I haven’t been legitimately scared by a horror movie in years. That all said, I thought your analysis of Gone Home was really interesting. I never thought of firstly why certain tropes are absolutely necessary, and secondly how a game could utilize stereotypical aspects of its genre only to later almost ironically undermine them in a deconstructive sort of way. If I start playing a game or watching a certain movie that I know is supposed to be a part of a certain genre, I definitely project my thoughts on that genre onto my expectations and eventual reactions to that piece of media. But, I also definitely think it’s possible to subvert those expectations successfully and deliver a game or movie that blurs the lines between different genres (or reality and virtual like you said) and challenges ideas about not only intentions, but also themes, mood, and message.

    1. You make a great point about the importance of trope in this work. Outside of this game, the tropes you mention have a symbolic value; in the game, as in real life, they have none. It’s really interesting how the developers employ such “cheesy” tropes in order to create a game which emulates reality with such surprising accuracy.

  3. This is a great analysis of tropes and their intersection with real and virtual, but I think that there are limitations to the tropes that can be applied to real life. Many of the tropes you described here, such as dark hallways, contribute to the mood and are internalized by the audience. For example, which child isn’t scared of the dark or is disturbed by sudden noises? These responses are likely explained by the the biological response it stimulates in humans, allowing our ancestors to feel an adrenaline rush in dangerous situations. However, there are also clichéd actions in the horror genre that are clearly distinct from “real” actions. We ridicule the protagonists for going to investigate the mystery instead of running away to find help or splitting up only to be methodically dispatched by the antagonist. It is these tropes that are so inapplicable to real life that they are parodied as seen in the Scary Movie franchise.

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