{"id":1063426,"date":"2026-01-20T20:04:55","date_gmt":"2026-01-20T20:04:55","guid":{"rendered":"https:\/\/www.polygon.com\/?p=494997"},"modified":"2026-01-20T20:04:55","modified_gmt":"2026-01-20T20:04:55","slug":"nickel-boys-storytelling-technique-is-radical-for-a-movie-but-common-in-games","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/nickel-boys-storytelling-technique-is-radical-for-a-movie-but-common-in-games\/","title":{"rendered":"Nickel Boys\u2019 storytelling technique is radical for a movie \u2014 but common in games"},"content":{"rendered":"
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<\/figcaption><\/figure>\n

Nickel Boys<\/em> is one of the hot tickets of movies\u2019 awards season this year<\/a>. The first fiction feature film by artist, photographer, and documentarian RaMell Ross was adapted from a Pulitzer Prize-winning Colson Whitehead novel<\/a> about an abusive, segregationist reform school in Florida, based on the historic Dozier School<\/a>. The story jumps back and forth in time between the 1960s, as two young Black men are incarcerated at the Nickel Academy, and the 2010s, as law enforcement is investigating the school \u2014 and digging up the bodies of those who died there.<\/p>\n

The focus on trauma, history, and racial oppression makes Nickel Boys <\/em>sound like typical, worthy prestige-movie fare, but that\u2019s not quite what this movie is. Think of it more as this year\u2019s The Zone of Interest<\/em><\/a> \u2014 a technically innovative, artistically daring literary adaptation that finds a bracing new perspective on some challenging material. Most cinephiles haven\u2019t seen anything quite like it before. Gamers may feel differently.<\/p>\n

Nickel Boys<\/em> is composed almost entirely of first-person point-of-view shots. It isn\u2019t the first movie to attempt this style: Robert Montgomery tried it all the way back in 1947 in his film noir Lady in the Lake<\/em>, and there are a few scattered examples, like Gaspar No\u00e9\u2019s trippy 2009 art film Enter the Void<\/em>, the 2016 action movie Hardcore Henry<\/em>, and a sequence in 2005\u2019s Doom<\/em><\/a>. Soon, we\u2019ll get to see Steven Soderbergh\u2019s Presence<\/em><\/a>, a haunted-house movie shot entirely from the ghost\u2019s perspective. But it\u2019s fair to say that first-person camera, as a sustained film narrative technique, is very rare, and not always successful.<\/p>\n

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In that context, what Ross has achieved with Nickel Boys<\/em> is truly remarkable \u2014 especially since it\u2019s not an immersive action or horror movie, but a complex, thoughtful drama, with the perspective shifting between two main characters. Film critics are rightly hailing it as visionary<\/a>. But the odd thing to consider is that in the adjacent medium of video games, Nickel Boys<\/em>\u2019 storytelling mode is not radical at all; in fact, it\u2019s commonplace.<\/p>\n

Pretty much as soon as video game developers could place a virtual camera in a 3D space, they were making first-person games, like 1992\u2019s Wolfenstein 3D<\/em><\/a>. In fact, some were doing it well before that; before 3D engines were fast enough to adopt the player\u2019s perspective, developers faked it by flicking through galleries of static first-person shots in role-playing games like 1985\u2019s The Bard\u2019s Tale<\/em>. For almost as long as video games have existed, players have wanted to look through their characters\u2019 eyes and inhabit their worlds.<\/p>\n

It might not be fair to compare the immersive, action-fueled urgency of Doom<\/em> or Call of Duty<\/a> with what Ross is attempting in Nickel Boys<\/em>. The film is less about immersing viewers in the experiences of Elwood (Ethan Herisse) and Turner (Brandon Wilson) than it is about generating a radical kind of empathy with them, and using the first-person camera to challenge and complicate notions of identity. But there are plenty of examples of video games doing this, too.<\/p>\n

\"\" \"\" \"\" \"\"
Dear Esther<\/em>, Gone Home<\/em>, Firewatch<\/em>, and What Remains of Edith Finch<\/em><\/em>.<\/figcaption><\/figure>\n

Through the 1990s and 2000s, the first-person camera was mostly the preserve of intense action games, especially shooters. But in the 2010s, indie developers started using it as a subjective, empathetic vehicle for character-based storytelling in games that were given the (initially) derisory tag \u201cwalking simulators.\u201d In games like The Chinese Room\u2019s Dear Esther<\/em>, Fullbright\u2019s Gone Home<\/em>, Campo Santo\u2019s Firewatch<\/em>, and Giant Sparrow\u2019s What Remains of Edith Finch<\/em>, first person is combined with realist settings and magical-realist flourishes to put the player inside a different psychological reality, exploring family histories, personal tragedies, and landscapes of memory. That\u2019s not so different from what Ross is trying to achieve in Nickel Boys<\/em>.<\/p>\n

That\u2019s not to say that Ross is cribbing his best moves from video games. (In fact, he says he never plays games<\/a>.) Nor does it prevent game designers from learning from Ross\u2019 techniques. The movie\u2019s editing, in particular, is powerfully effective in the way it plays the two protagonists\u2019 perspectives against each other, splices them together, or lines them up for some stunning moments of convergence. (For partly technical reasons, editing is seldom used to great effect in video games, although there are some good examples, like the jump-cuts of Brendon Chung\u2019s Thirty Flights of Loving<\/em><\/a>.)<\/p>\n

Occasionally, Ross breaks out of first person to take a third-person view, framed tightly behind a character\u2019s shoulders, to brilliantly destabilizing effect. Nickel Boys<\/em> contains a handful of shots \u2014 like the poster shot of the two boys looking up into a ceiling mirror together \u2014 that are breathtaking in both their technical artistry and their emotional intent.<\/p>\n

There\u2019s a level of sophistication and playfulness to the way Ross sets up the movie\u2019s first-person form and then intentionally breaks it that you rarely see in games. But still, the subjective, enveloping storytelling Nickel Boys<\/em> taps into is one most gamers will be deeply familiar with. The film audiences that are currently finding it so arresting would be well advised to dip into some of gaming\u2019s first-person greats. <\/p>\n

\n

Nickel Boys opens in limited release on Dec. 13 and will expand to wide release on Jan. 3, 2025.<\/em><\/p>\n

Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Nickel Boys is one of the hot tickets of movies\u2019 awards season this year. The first fiction feature film by artist, photographer, and documentarian RaMell Ross was adapted from a Pulitzer Prize-winning Colson Whitehead novel about an abusive, segregationist reform school in Florida, based on the historic Dozier School. The story jumps back and forth in time between the 1960s, as two young Black men are incarcerated at the Nickel Academy, and the 2010s, as law enforcement is investigating the school \u2014 and digging up the bodies of those who died there. The focus on trauma, history, and racial oppression makes Nickel Boys sound like typical, worthy prestige-movie fare, but that\u2019s not quite what this movie is. Think of it more as this year\u2019s The…<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":1,"featured_media":1063427,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1063426","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-polygon"],"yoast_head":"\nNickel Boys\u2019 storytelling technique is radical for a movie \u2014 but common in games | Arcader News<\/title>\n<meta name=\"description\" content=\"Nickel Boys is one of the hot tickets of movies\u2019 awards season this year. 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