So by story do yo mean experience?
So by story do yo mean experience?
Some people need a heavy introduction in order to care for something and identify with characters/struggles. I'm able to instantly identify with the main character and his struggle.
I'm glad I have this ability and I feel sorry for those that do not. I bought Dishonored's fiction the minute I started the game. I am Corvo, not just playing as him.
Perhaps it has something to do with my Jungian personality type, INFJ. Specifically: (INFJs) take things in primarily via intuition (...) INFJs have uncanny insight into people and situations. They get "feelings" about things and intuitively understand them.
It's hard to explain the way I feel about most game narratives. Honestly I don't understand why people complain about most of them. Barebones details, goals, characterisations and introductions are more than enough for me to be completely immersed.
There's bookends to chapters that the developers provide, you get given the opening paragraph and you get given the ending paragraph, you fill in the rest yourself. Your experience in the game becomes the story of how the character got from the position he was in at the opening paragraph to the end. You are writing the chapters, how the events play out, that's your part.
When used successfully (and many games don't manage this), audio logs and lore books are incidental details to pad out the narrative, to add further substance to it. An audio log is a paragraph describing actions the hero can't witness, a lore book a ramble the author may drift into describing a place or a time that again, the hero can't witness.
Maybe that's not the kind of story you're writing though. Maybe the one you're writing is the one about the oblivious killer who stumbles from corpse to corpse, forever doing what he's told and knowing nothing about the world around him...
Last edited by RobF; 29-10-2012 at 12:50 AM.
How would you fabricate the torture scene in MGS on your own for example? Skip to 7:58, hideo kojima cut scenes are long...
Last edited by mashakos; 29-10-2012 at 01:05 AM.
I don't understand. I don't know why you'd want to?
All this is not possible in a sandbox gameplay style.
Hey RobF, is your sig a quote from a song? I think the disc was called Baader Meinhoff. Hate Socialist Collective: Burn Warehouse Burn! Loved that record...
Right, but that's a fourth wall breaking set piece right? What purpose would emulating it in a sandbox achieve? That's the bit I'm not understanding. Why would I want to reproduce that segment, that authored and designed segment, in a scenario where I want the player to be the author and designer? I don't see it as an issue I need to resolve because we're looking at two different design goals.
Or is there something specific you think I should be emulating were I writing an open world game? I'm not sure I've got this right so sorry if I'm way off and missing something painfully obvious to the rest of the world.
That said, the obvious and cop out answer is "well, you make it one of the bookends, job's a good 'un" but that's a cop out, obviously.
@namdrol. Good spot! I was going to go with a line from There's Going To Be An Accident but I figured "you're going home in a fucking ambulance" probably wasn't the best sig to wear.
Either way, this is a video game we're talking about. I don't expect great literature from the airport gift shop, and I don't expect great writing from my video games. On occasion I'm pleasantly surprised, but how is bad writing in a game otherwise noteworthy?
"This is your story" is a stupid argument that is only used by fanboys as a bad excuse; it's equivalent to "Halo is a roleplaying game because you play the role of Master Chief" in its nonsense.
Silent protagonist is usually good when he is a random passerby in a non-personal story( Half-Life, New Vegas). Here we have a silent and personality-free Chosen One in a supposedly revenge story whom two constantly boozing guys send to kill people for them and they even steal his mattress when they don't want him to go to sleep. Admittedly I didn't finish the game but it's bizzare so far.
Yeah, although I'm a huge fan of the game I have to say that it left me emotionally cold and uninvolved in it's story and characters. It's very hard for games to tell stories, let alone good ones because the protagonist is an asshole who doesn't want to play ball with the game's storytelling :P
This is not a bad thing however, as games are first and foremost about interaction and gameplay. Story is secondary if not tertiary for most game designs. Which doesn't mean that you cant get it to work in your games design. Dark Souls and Portal are great examples to where the story is made to fit the overall design of the game.
I'll add my twopenneth - as acclaimed as this title is for being 'versatile' I broke the mechanics a few times. Without giving away any spoilers on one early mission I had to assassinate someone and save the informer. I poisoned the target and shot the informer with a sleep dart.
When I got back to base I was told that I had failed to save the informer.
This combined with the fact that the so-called open world is nothing of the sort... anyone else try swimming back out to sea when dropped off the boat.. yup invisible barrier time!!
This is a good stealth game, but the open & flexible system is really just a slightly more open world then say Bioshock.
A game doesn’t have to have emergent or sandbox gameplay for me to feel involved personally, or to feel that it’s my story. What pulls me into a game is an execution of mechanics which complement the narrative/setting, that for me is what creates a sense of Verisimilitude to pull me in.
Emergent gameplay is a bit of a misnomer for me in that respect, if I buy into the experience most games where I can’t directly see the threads holding things together can be emergent and immersive if they are good enough. I like games which give me building blocks and bare mechanics to forge a narrative as it were, but I also enjoy narratives which grip me and contain me, so long as they’re good enough, and the sense of wonder and surprise and involvement can be just as good as what I could imagine or forge, and is often better in fact.
I think it’s good that the genre emerged (lol) and has/is developing but the idea that is somehow the holy grail of gaming or what have you is not one that I buy personally.
It's not about emulating what works in a linear game. I've just observed that sandbox games, while having a lot of "random" moments that can be quite memorable, generally have a story that lacks the impact of linear games. If a dveloper could figure out a way to combine the impact of a great linear game with the dynamic world of a sandbox game, I would be in heaven.
As it stands, I prefer a strong plot over te whole emergent gameplay experience. This is apersonal preference of course, not saying one is better than the other (used to prefer deus ex and thief over linear games in the late 90s/early 2000s).