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The Sharmat posted:if the narrative of video game masterpiece Mass Effect has taught us anything, it's that choices have consequences will you beg for a ban, spam goatse threads until you get put down like a rabid dog, or post a thread with one of the bannable tags? the choice is yours, friend - but remember, everything you do has consequences
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Jul 8, 2014 00:37
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Does the ban come with an email reminding you of what you did though?
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Jul 8, 2014 01:02
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it's time for the legend of Roger Tangerines to be rewritten
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Jul 8, 2014 01:03
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WHAT IS THIS THREAD
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Jul 8, 2014 04:58
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Ralp posted:WHAT IS THIS THREAD good video game writing
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Jul 8, 2014 05:24
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That loving Sned posted:Some of the best video game stories have no words at all. By which I mean Sonic 3 & Knuckles.
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Jul 8, 2014 05:50
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zen death robot posted:It's not about Princess Peach's Co-Dependency Subtext, sadly. the only co-dependency subtext in mario games revolves around mario himself
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Jul 8, 2014 06:01
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This thread is good.
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Jul 8, 2014 06:03
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i assume thats left over from when it was in games
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Jul 8, 2014 06:15
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oh wow rip OP
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Jul 8, 2014 06:23
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Gee if I cared so much what people on a internet forum cared about my horrible opinions I'd have killed myself irl by now. Hopefully he doesn't have a mental breakdown without stopping back by here to post in E/N!
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Jul 8, 2014 06:24
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It was only a 1/5 when it was in games and had the potential for people to start serious posting. It's p. good now. True story: like half the people I played wow with went out and bought some book about what happens after you kill the boss orc and get your loot. They were all then surprised when the book sucked. They literally read 400 pages of a book detailing a video game orcs's trial for looting and pillaging. I'm not making this poo poo up. Meow Tse-tung fucked around with this message at 08:39 on Jul 8, 2014 |
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Jul 8, 2014 07:04
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rename videogames "funsoft" to avoid such misunderstandings in the future
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Jul 8, 2014 07:21
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zen death robot posted:These posters would disagree: only ones and fives matter, and this thread deserves neither
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Jul 8, 2014 08:05
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I want to write a vn where you're a kid from the hood who is just about to graduate high school. Being pressured to choose between community college (your mom), working at the factory (uncle) or getting deeper into your existing street life (cousins) There wouldn't be a specific "good" ending. In fact I'm pretty sure I want to kill off a couple people no matter what. The game would take place over a weekend, with a living world where the people have interactions regardless of if you're there interacting yourself. The part I really want to focus on is how mood effects people and their interactions. Everyone would have some invisible stats that Get effected when they interact with other people. So you'd get someone all upset then they'd go and be confrontational to someone else, so on and so forth. Basically you go around talking to people and trying to make your decision while a conflict slowly builds into a head on Sunday when your actions decide who dies. So I want to make a visual novel without sex, literally zero market for that
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Jul 8, 2014 12:12
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write a visual novel about how to become respected on a story game's official forum, include different routes you could take varying from writing slashfic to sucking up to the mods have the whole place divided into factions based on favorite characters and further subdivided by groups that argue over who their favorite character should gently caress and they all keep track of what you said about their waifu/husbando and use that to form an opinion of you
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Jul 8, 2014 12:24
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Zoq-Fot-Pik posted:Games that do the Banjo Kazooie style grunts in place of actual voice acting ftw. i prefer the zelda style where a character's dialogue scrolls and they have a little sound byte to punctuate that they're excited or sad. also i like games that establish a set of rules and mechanics and reward you if you can interpret them to work in your favor over games with stories that you have to strictly follow.
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Jul 8, 2014 15:31
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I liked the story in Saint's row 3 and 4.
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Jul 8, 2014 15:43
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what was the ps3 game where you start the story by getting shot in the rear end by a columbian mobster? that story was good
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Jul 8, 2014 17:00
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p sure theres plenty of visual novels that let you choose between your mom and your cousin
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Jul 8, 2014 20:33
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Roger Tangerines posted:hey cool and now all my posts link back to this thread and the thread is stickied, so i absolutely cannot get away from looking like a human being. this is really cool and i definitely want to keep posting on these weirdly hostile and mean-spirited forums so i've changed my mind, please don't ban me any more lol
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Jul 9, 2014 00:54
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Roger Tangerines posted:hey cool and now all my posts link back to this thread and the thread is stickied, so i absolutely cannot get away from looking like a human being. this is really cool and i definitely want to keep posting on these weirdly hostile and mean-spirited forums so i've changed my mind, please don't ban me any more If you can't take the heat, get out of the Imp Zone.
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Jul 9, 2014 02:17
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whenever something stupid happens in a game I'll remember this thread and smile
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Jul 9, 2014 02:18
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I'm not a good judge of what qualifies as good writing, but I like games that tell a good or interesting story, or interesting characters. I thought Deadly Premonition had an ok story, but it was York who really brought that game together, as well as all the quirky characters. I don't think that game would've been half as popular if not for the writing of those characters. Planescape Torment also had interesting characters, but the gameplay portion was pretty clunky, but I still felt like I got some enjoyment out of it and still recommend it. I don't know what the best way for a game to tell a story is without it feeling forced or getting in the way. I think it would involve the story arising naturally from the gameplay aspects, kinda the way people create stories about their encounters in XCOM or something like that, hard to say.
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Jul 11, 2014 05:51
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This thread has taught me one important lesson. Videogames are certainly not anime when it comes to telling deep and engaging stories I have never experienced before. Also I read half of this and I was super disappointed that people weren't joking about Princess Peach's co-dependency subtext not being an actual thing. Thread did not deliver.
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Jul 11, 2014 06:45
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Zoq-Fot-Pik posted:I hope Ken Levine never has any creative input into a video game again. I hope he falls into a big well.
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Jul 11, 2014 14:26
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Okay I know I made some lovely posts in the other thread but really you should watch all of this guy's videos because he explains why story and setting in video games are important without saying stupid bullshit like "ludonarrative dissonance" and also they're p. funny
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Jul 11, 2014 15:18
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Is this the same guy who thought gucamelee's bosses were too hard and detracted from telling the story?
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Jul 17, 2014 21:29
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hello again thread
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Jul 17, 2014 21:34
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Jul 17, 2014 21:36
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let us reflect on what video game writers have learned since the thread was last on the front page
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Jul 17, 2014 21:37
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I've learned that games are good, and I often enjoy the writing in them
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Jul 17, 2014 21:39
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I'm glad this is back on the front page here
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Jul 17, 2014 21:39
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The Sharmat posted:let us reflect on what video game writers have learned since the thread was last on the front page I Don't Think You Deserve Redemption, Aiden Pearce by Patrick Klepek on July 17, 2014 Watch Dogs didn't leave much of an impression during my 20 hours with it, but I can't stop thinking about the game's final choice. At the end of Watch Dogs, Aiden Pearce and the player are presented with a choice. A man is tied to a chair, openly weeping and begging for his life. Want to pull the trigger? The player can end his life or walk away. The game doesn't comment on your choice, either. After, the interrupted credits keep rolling. You kill hundreds, if not thousands, of people in Watch Dogs. Though it's a game themed around hacking and technological subversion, most problems are solved much faster with a bullet. If you run over a civilian in Watch Dogs, it slightly alters how the citizens feel about you, but despite (accidentally) running over many Chicago residents, it didn't impact the game. The act of killing is routine, and Watch Dogs doesn't spend time humanizing the people around you. If anything, Watch Dogs deliberately dangles one-note stereotypes to ensure the bullets are spraying. That's not true for the character at the end of Watch Dogs, though. The man in the chair is Maurice Vega. Watch Dogs opens with Aiden and his partner, Damien, during a virtual bank heist. But the two stumble upon a mysterious file, which alerts a nearby hacker, and their identities are discovered. Aiden tries to flee with sister, Nicole, and her two children, Lena and Jackson. A hitman, who we eventually learn is Maurice, is sent to take out Aiden. The attack ends up crashing the car, which sends Lena into a coma that she never wakes up from. Watch Dogs then follows Aiden tracking down those responsible for her death. But Aiden is an rear end in a top hat. I haven't violently disliked a character this much in a long time. Ignoring how the game never, ever tries to explain how Aiden is a master hacker who's also a gun expert, he constantly put his family and the citizens of Chicago in danger. Need to escape a building? Don't worry, just shut down power at a major sports game attended by tens of thousands of people. Cops on your tail? Bah, trigger a bridge while traffic's crossing! Aiden is directly responsible for Lena's death because he's a criminal. As the storyline in Watch Dogs plays out, the cycle repeats. He's responsible for hitmen going after his nephew, and he's responsible for his sister getting kidnapped. Aiden was not randomly targeted by an unjust system; he was being a dick. Watch Dogs is not a game about players living with consequences, either intended or unintended. You're following a linear story set within an open world, and you're meant to accomplish objective A, B, and C while moving from D to E. Watch Dogs does not give the player many options when it comes to roleplaying. It's possible to make Aiden a bit stealthier and kill slightly fewer people along the way, but it's pointless. Aiden's arc has been determined by the game's writers, and players have little input. Yet, eventually, you are given a choice. That's what makes the final sequence with Maurice so interesting. Aiden deserved to be punished for his actions. The ending tries to portray Watch Dogs as Aiden's origin story, events required to produce a hacking superhero that will use his powers for good. But nothing suggests Aiden earned redemption. He's not a hero. When I play video games, especially ones with player choice, I'm Han Solo, the renegade with a heart of gold. I'm always trying to do the right thing, though unafraid to crack a few eggs along the way. But that wasn't an option in Watch Dogs. Aiden was going to act a certain way, no matter what. Destined to dickitude. Even if your version of Aiden tried to show restraint, that was never, ever reflected in the story. He was always an rear end in a top hat walking around with blinders, oblivious to the chaos created in his wake. And that's fine! Not every game needs to give players influence over character development, but Watch Dogs doesn't hand over the keys to Aiden's heart and mind until its final curtain call. It's an odd choice. If the game wants to tell the story of an everyman whose noble intentions go horribly awry, do it. (I'm not sure this is even true. The ending's tone points to writers sympathetic to Aiden's decisions.) But have the balls to make Aiden's final choice, too. Asking the player is an M. Night Shyamalan twist, a cop out. To fully understand what's happening, we need to rewind to its opening moments, too. Watch Dogs begins with Aiden pointing a gun at Maurice, hoping the man will spill who ordered the original hit. Your first action in Watch Dogs is firing a gun. But the game subverts expectations, revealing there's no ammo. Being confronted with Maurice a second time is Watch Dogs coming full circle. My Han Solo gut was telling me to let Maurice go. As with any criminal conspiracy, he was one pawn among many. Who needs more blood on their hands? But that's not what Aiden would have done. Up until this point, Aiden has killed without a trace of guilt, doubt, or hesitation. Me? I wouldn't pull the trigger. But Aiden would. Aiden wouldn't be able to resist ending the life of a person who had caused him so much pain, misguided or not. So I made Aiden pull the trigger, and Maurice was dead. It felt satisfying. Not because I was happy to see Maurice's body slump to the floor, but I'd subverted the game's storytelling. The ending wants you to believe Aiden to be good, and gins up a happy ending. But Aiden doesn't deserve one. He's a bad guy. In trying to do the right thing, he constantly did the opposite. Screw off, Aiden. Good riddance.
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Jul 17, 2014 21:40
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patrick klepek is the most contemptible person in video games media
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Jul 17, 2014 21:45
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The Wu-Tang Secret posted:Okay I know I made some lovely posts in the other thread but really you should watch all of this guy's videos because he explains why story and setting in video games are important without saying stupid bullshit like "ludonarrative dissonance" and also they're p. funny
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Jul 17, 2014 21:48
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The Wu-Tang Secret posted:Did you watch any of these or not I did already but I respect your choice.
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Jul 17, 2014 21:50
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Gaspar Lewis posted:I Don't Think You Deserve Redemption, Aiden Pearce
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Jul 17, 2014 21:51
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The Wu-Tang Secret posted:Did you watch any of these or not i already had. although theyre not bad as these things go theyre like 3x as long as they need to be let me carefully lay out a character analysis of the protagonist of a gta clone with hacking
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Jul 17, 2014 22:12
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The Wu-Tang Secret posted:Did you watch any of these or not i didn't the first time you posted it, because I assumed it would be stupid bullshit. I was right, but despite that I still kinda like it
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Jul 17, 2014 23:03
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