The 7 1/2 Deaths of Evelyn Hardcastle by Stuart Turton is the latest example of how time-loops and detective stories are a compelling combination–I hope it becomes one of those “must read” novels for game designers and interactive storytellers soon. Evelyn Hardcastle brings together Agatha Christie and Groundhog Day drizzled with a bit of David Lynch. The protagonist of the novel relives the day a murder takes place in an English manor. He controls one person at a time, and the only way to break the loop is to solve the mystery; to do that, he has 8 days / lives to find the solution. If it sounds like a game, it’s because it is a wickedly complicated story puzzle, delightfully put together.
Coming from narrative games, I particularly enjoyed how the protagonist notices the friction with his hosts–what he wants to do may be at odds with their impulses, while the intelligence or insight of the person he’s controlling allows him to notice certain details or have specific realizations. This is not dissimilar to how the stats of a character in a role-playing game can determine what we can do and what we cannot. Although the author does not list videogames as one of the inspirations for the game (he mentions the TV show Quantum Leap in the Q&A at the end of the book), the storytelling takes advantage literacies that games and complex TV shows foster these days. Audiences can follow stories with multiple points of view, gaps that are steadily filled out (or not), so that as they read / watch / play they’re assembling the story puzzle.
A protagonist stuck in the same sequence of events until they get something right is a story structure recreates how we navigate digital storytelling, where the interactor explores the possibilities of a story until we get the “right” version, as Janet Murray breaks down in her analyses of Groundhog Day or Run Lola Run. The pervasiveness of videogames, which often involve trial and error, has turned this structure into a commonplace in other media. The manga All You Need is Kill, adapted to film as Edge of Tomorrow, both thrive on the tropes of combat videogames, so the journey of the main character depends on him remembering his mistakes and learning from them for the next loop, just like a videogame player would. The structure of the time loop has also been long embraced by videogames, starting with The Last Express (1997) and The Legend of Zelda: Marjora’s Mask (2000), neither of which have got the attention and recognition they deserve. Now there’s a whole slew of games recently released or coming up in the next few months: The Sexy Brutale (2017), Elsinore (2019), Outer Wilds (forthcoming), 12 Minutes (forthcoming). The metalevel of the knowledge of the player now becomes part of the game mechanics. And let’s not forget interactive fiction, where there’s already a sizable collection of examples in the last 20 years.
What interests me of the time loop as a narrative / game structure is how combines with mystery, which is what initially drove me to read Evelyn Hardcastle. In a mystery narrative, the initial goal of the detective is to reconstruct the story of the crime. One of the challenges to design a mystery videogame is figuring out how to let the computer evaluates whether the player got the solution right or not–something that is easier to do in non-digital games. Questionnaires are a common device, while letting the player fail can also be a productive approach–maybe players want to replay the game until they get it right, making the loop something that takes place at a meta-level, in the time and space of the player.
Time loop mysteries make the trial-and-error part and parcel of the world of the story / game. Thanks to Groundhog Day, many storytellers and game designers do not see the need to explain why that loop is happening–Evelyn Hardcastle does, in what seems to be a seed to tell further stories with a similar structure (I hope!). The time loop mystery structure is alluring because each loop allows the player / audience to get more information about what happened, and then use that information to solve the mystery or change the events. Some events take place simultaneously, so they require making choices and revisiting the story over and over in order to reveal each piece of the puzzle–where and when people are at each moment. While traditional media have used the loop as a way to structure the story and keep the audience intrigued until the end, the game player needs to actually solve the puzzle and use as many time loops as necessary to get to the end.
Bonus: If you’re into time loop mysteries and science fiction, you may want to listen to the Doctor Who audio story The Chimes of Midnight.
One thought on “Mysteries Stuck in a Loop”
For my Spanish-speaking readers – the novel is also available in Spanish http://aticodeloslibros.com/index.php?id_product=143&controller=product