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Welp, there goes my PS4 bundle. I seriously wonder what's gonna happen with that, but this is surprising to me, they've bigged up this release a lot, and with the wholeGTA tack on advertisement, this seems like a really last minute decision. At least I won't be surrounded by so many Open World games this christmas.
Get Civ, Mafia 2 is such a bore imo.
Some trainers have all the luck.
Probs not, but I really want KH2 because of the organisation fights. Just give me a release date Square!
As nice as the flight over the ocean would be guys, i'm gonna stay home in London this Halloween and cheer from the side lines! : D Great to see KH community action in motion, hope things turn out great.
Damn it, I need a release date! Nice an all as the reveal is, it would've been nice to have some solid release date news on it, I mean that's the biggest issue I have but, blegh ok still great! They didn't re dub pre existing lines in KH 1.5, Days was the only thing that was recorded over and that's just because it was no longer a game. And they won't re dub DiZ I can bet, because they never re dubbed Ansem in KH1.5, who still sports the one time only Billy Zane recording, thankfully that was kept intact. I don't think they'd bother wasting money re recording all the games.
*Not American, feeling superior right now* : p Would it annoy you to know i'm studying this for English Literature? XD We had to choose period literature, like romantics or victorian literature, and I wanted to try something different so I picked American Literature. It's been more a history lesson than anything else a this point.
I haven't got that far yet! D : Would've been funnier for me if I had, it's a couple weeks away till then. Just done Mary Rowlandson's captivity with Native Americans, moving on to Wieland, which is another boring read but there you go.
Nothing to see here! Move along you peons!
Cotton Mather is total jokes, yo! Talking bout dem witches, and sleeping cows and stuff. Man....
So this is what hell looks like?
They were a right laugh weren't they? Persecuting and stuff. I'm actually enjoying the American history sort of side on my course.
Hey, that's stereotypical. Not all French speakers are weird and/or gay. Unless you're making a confession?
The one where the main character has anime hair, an attitude problem, and some type of emotional baggage.
This was the era before KHV discovered MSN, and before the great hype of Skype. And because young teens with free time and ****.
Still worth a play, especially on a fairly decent PC, it is lovely, and the atmosphere of Columbia is just really nice. Irrational should give up making games and be architects. ALso, Barbershop quartet of God Only Knows is a highlight.
That's not a story within the game, that's player response to gameplay experience which is separate from the story. That's not a story, that's a sequence of events that you played in a Mario game. You're saying gameplay is storytelling, and in some ways, like I said, I understand. I was playing Battlefield 3 online with a mate, doing Capture the Flag. Both of us on a motorbike, we had taken the flag and I was driving him back as he put down fire against the enemy. Suddenly, in front of us dropped a chopper firing towards us. My mate reached for his RPG, I sped faster towards it and as I hopped a ramp, he fired and boom, chopper destroyed mid air. That's an epic story in a game to me, an experience no one else can have. This type of thing is called emergent storytelling, where the gameplay events stack in a way to create a unique story for you. Games like XCOM: Enemy Unknown have this compared to an actual proper narrative, though one still lightly exists. But this style of story is not created by the developers, it's one created in the minds and experiences of the player, where it can't be replicated nor designed in such a way. Games try to do this with set pieces like in CoD or Unchartered, a structured event to be epic for the player to experience, basically, like being in a big budget film and are such very cinematic. I demand improvement from the games industry in their storytelling and can't just accept that any storytelling is good enough. Wha? It does have text on the screen and cut scenes, all which give context of the gameplay elements and world you're in. What everyone is ignoring is my point, that the actual gameplay does not create or reveal the story. If you stripped ICO of all its cut scenes and played it for the first time, you would be left with no context at all for why you're there, how you met this girl, where this shadow creates come from and the whole narrative of the game. The games people are putting forward are all games where the story elements are driven by cut scenes, and not by gameplay. Someone at least address that point. What does this have to do with a good story? A good setting doesn't mean anything without context. 'I went to a lovely field, with beautiful grass, wild flowers bound the plain, roaming sheep by the fences all soaked in sun filled rays.' That's great and all, but what happened there? There is good writing and there is bad writing. There are **** novel stories as there are **** game stories. Just because you can tell a protagonist from an antagonist doesn't make it a good story just because you know that. That's not a story, that's a concept. Just because a person can grin and jump around does not make them a well developed character. That's a trait, not developed character. Good stories have good and well developed plots, characters, events, dialogue and loads more. By your definition every piece of fiction is good writing because the reader can understand it, which every English Literature and Creative Writing teacher will tell you is utterly wrong. If everything was good writing, we'd actually have loads of great game stories, but we don't, we have some hits and a lot of misses and a lot of games that repeat other games. What does boxart help prove your point that gameplay affects storytelling? Boxart can tell you about a game, sure, but it's not gameplay. You're now talking about the themes of the game which the story has created and the gameplay has emphasised, which is true, the themes of espionage is shown off by him being able to crawl to avoid detection. Themes fuel a story but they don't make it, it's a combination for a lot more for that to work, which Metal Gear does but in cut scenes and codec messages. Ah now, you bring up an interesting point, is the story created first and then the gameplay or the gameplay is created and a story made to explain it.
Again, storytelling or gameplay has to be good in that genre, or at least entertaining, creative puzzles. Having both story and gameplay in a game usually makes a game great. You can lack one or the other and still have a good time, but lacking both makes it very likely to be a bad game. Could have good features, but not enough usually to be redeemable. Rule of thumb, not a perfect science. Did I forget to say 'good' storytelling? What does smashing crates and running in a jungle tell me anything about the character, story and such in Crash Bandicoot? The plot points that set the context of the story are based in cut scenes, not in the actions of the player, the gameplay is a means to get from one cut scene to another. The story of Splosion man is a synopsis, it's not a game with a plot, and you don't learn about the scientists who made you or the reason for Splosion Man's abilities or anything that we as players experience. I think the only thing we learn is the name of the lab Big Science, which is written in the setting and not explained through gameplay. And what story does Limbo tell us? The 'story' of Limbo consists of setting and pre ordained actions, the actual reality of the story is what we find from different sources, the fact the setting is on the edge of hell is known to us by the title of the game, not the gameplay, the fact we know the main character is a boy is told to us in the synopsis as well as his objective for seeking his sister. Almost everything else is about the narrative based around what we perceive as individuals, that's the beauty of Limbo, in that it doesn't have a set story, we are allowed to imagine what's going on. Like Minecraft's Adventure mode, many people make up stories about this blocky guy waking up in the middle of nowhere. That game is all gameplay, but it's no story apart from the one you perceive from the environment and make yourself in your own mind. The most basic stories at least consist of a introduction, a conflict and a resolution/result. Limbo, at best fits that mould, but bucks narrative style. I was gonna lump both these games into Limbo category of story telling, since a lot of what you see isn't explain and up to the player's imagination, but since they set the context of the protagonists goals along with main characters and reason for their actions all through cutscenes, I'll just put it as normal game storytelling.
