In games, we have different kinds of control over the story and/or assets and the related mechanics. The term operator simply means the player and what the player is able to control in the game. The diegetic actions of the operator is the literal manipulation of the game within the confines of the actual elements. … Continue reading The Operator
The Machine
What does the machine control in a game? Well, besides nearly everything? Just like the operator (or player) the functions of the machine (or gaming engine/programming) can be split into two categories: diegetic and non-diegetic. Using Rimworld as an example again, a diegetic action for the machine is the interface or perceivable actions that are not … Continue reading The Machine
Music in Games
There's something great about original soundtracks for games and movies. As we find in The Silent Place, a horror film where sound isn't just for jump scares but a major component for the film's premise, sound is extremely important for visual works. The soundtrack for Mad Max: Fury Road sets a completely different mood than How to Train … Continue reading Music in Games
Integral Story as DLC: A Bioware Criticism
This might not be a tactic only used by Bioware, but they’re the one that use it the most notoriously as a AAA gaming developer. The original purpose of downloadable content was to add extra content to a story and milk a little extra money out of a game that’s already been released. Some DLC … Continue reading Integral Story as DLC: A Bioware Criticism
Making the Player Care
If someone can figure out how to make a characterless RPG, let me know. In the meantime, both the player character (customized or premade) and non-playing characters are an important aspect to role playing games, but just having characters doesn’t make a compelling story. While I’ll be straying into basic concepts also found in general story writing … Continue reading Making the Player Care
Dragon Age 2: Telling a Greek Tragedy in Video Games
I’ll keep saying it as long as it’s funny and relatively true: The Dragon Age series is a dating sim loosely disguised as an RPG. The big difference between it and actual dating sims is the level of story happening alongside it. Dragon Age II sticks out to me due to the callback to older story … Continue reading Dragon Age 2: Telling a Greek Tragedy in Video Games
Reactions to King of Kong: A Fistful of Quarters
There was a guy that just called gaming an addiction but also considered it a "superior form of addiction." For some, being the best at the games is an obsession that the public fueled into considering being good at these games was alright when the results were good. It's not unlike how society rewards those … Continue reading Reactions to King of Kong: A Fistful of Quarters
A Look at Turn Based RPG Storytelling
In this, I’m going to talk about two games: Fire Emblem: Awakening and The Banner Saga. While a lot of the comparisons I’ll go on to make can be chalked up to being developed in an established game developing company in a well defined series that’s taken its time to find the right formula for a fun game and the other … Continue reading A Look at Turn Based RPG Storytelling
Stories in Simulation Games
The open-endedness of a simulation game is one of endless entertainment, but there is an argument to be made that the kind of entertainment it provides is less substantial in its base form when compared to role playing games. I'm going to dispute that. The only story in simulations is the story you give it, … Continue reading Stories in Simulation Games
The Role and Place of Violence in Video Games
Most games that play through the perspective of a sentient being will land in a category of violence as game play. There are a few exceptions, but those games are often dismissed as not being “real” games with enough challenge to them. Once you figure out the cause and effect of a visual novel – … Continue reading The Role and Place of Violence in Video Games
Video Games Deconstructed 