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Old 03 January 2010, 10:13   #8
Marcuz's Avatar
Join Date: Jun 2002
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Age: 40
Posts: 5,151
Originally Posted by Falcon Flight View Post
Most of the greatest games don't need stories of course; they're just have great game play. See - shmups, a fave genre of many hardcore gamers. :-)
Originally Posted by Adropac2 View Post
More is definitely less in the form of the majority of games these days - not likely to change either
Actually this morning i was thinking about it, and i guess that the best stories in computer games are the ones where the narration is non existant. which pretty much is the purpose of a game, not tell but play.

for instance, Xenon II has a better story, more consistent, driven and better told than Cruise for a Corpse.

if a story is the movement in wich a character is presented to the conflict, struggle with it and solve it, in Cruise, an adventure game, the player is as i was saying in the other post, experiment all sorts of false starts, pauses, but most of all back and forth movements.
those micro-stories (ex: go talk character A, get info regarding character B, go back to A) are what a human is trained to see in real life every second to distill a sense out of it.

but in a proper story, one where it's the same player the one to move on the action, they simply differ and dilute the sense of the story.

So, if the only expressing way of game is that, with its constraints in regards of storytelling, for instance Xenon II is a great story telling exemple because the conflict is pretty much straight forward: if you dwindle in some decision, the story finish almost instantly with the ship exploding.
the narration goes through different settings, in a chronological way (the different levels, from protozoa to machines) and almost not a word is written down except from the merchant character acting as secondary character.

the mood in Xenon II is what strikes the game as a great story, with yet again a consistent playing ambient (visuals and sounds that do nothing to distract the player from the climatic innuendo in the play, where the conflict gets frantic just before the solution.

The final is in tune with the rest of the game, almost no word at all, and that is a bit of a failure in regards of the dissolution of the sentiments experienced (and energy spent) in the game play, which is a bit too abrupt and unsatisfactory.

Last edited by Marcuz; 03 January 2010 at 11:01.
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