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Cell

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  1. Perhaps the NO1 reason why certain mods and/or games suck - but at least this is what I pull off my experience - is that they consume themselves into overexcessive storytelling.

    Even though some of those are actually neat, promising and stuff (including sorts of originality), many still suffer of the very clichés of "youngest prince of the three"-esque bullshit, you're facing alone against the entirety of this cruel, nasty world, everything and everyone wants you for dinner, yet, by some sheer luck, you end up being victorious, then the cast rolls celebrating your triumph. Hooray, how original.

    You may or may not waste your time reading 859 pages of .txt documentary attached to the launcher file, but regardless of dat, some unenjoyable, cringeworthy indie attempt it turns out to be anyways - about 99.8% sure. So never trust anything coming with Notepad files "weighing" several hundreds of megabytes, made out of mere sugarcoating in ASCII chars.

    1. Show previous comments  1 more
    2. KVELLER

      KVELLER

      @Albertoni It was Carmack.

    3. Nems

      Nems

      Another problem I encounter when it comes to storytelling in games and mods is how it's delivered, or as I like to call it: "Why should I care?"

       

      A story is good and all but a good story is one where the reader or consumer WANTS to know more about what's going on, what happens next, the possible lore behind the story. I felt like Doom 2016 did a good job of this. They got the gameplay nailed down right in my opinion but they also presented the story in such a way that I wanted to know more about the world and its lore. I found myself actually caring about the finer details and they were presented well, even if it was in a way self-aware of how silly it was.

       

      F.E.A.R. (the original and to some extent its expansions), in my opinion, did a great job of drip-feeding the story and having it escalate in such a way it kept you glued to the seat to find out just how deep Armacham's projects went into unethical territory. Hearing phone messages and checking laptops helped fuel that curiosity of wanting to know what happens next, of wanting to know how deep the rabbit hole went with Armacham.

       

      S.T.A.L.K.E.R. does a good job at telling a story through a number of different ways, from the NPC's, to the files you find, to even the environment. It's a hostile area that clearly doesn't want you there yet when I played I found myself wanting to know more about how things went down in the Zone while also wanting to get better gear to continue to uncover the Zone's story/secrets.

       

      Examples of games that didn't pull that off well to me? The Half-Life franchise (I found the contrived and forced, ham-fisted deification of Gordon Freeman in both one and two to be so laughable, absurd, and undeserving that the whole thing in general felt schlocky when it was trying to be straight-faced about it) and Guild Wars 2 (the dev team's knack for non-linear storytelling and leaving plot threads hanging only to maybe come back to them later [or not] instead of resolving them right then and there burned me out).

    4. Cell

      Cell

      ^ Stories have a higher chance to be good, or at least affordable, if they're actually programmed to build up alongside your progression into the game. Big names in the game industry more oftentimes than not live up to the expectations, and should even one of said games' documentary typed in a Notepad file excess 100MB, perfect tactics for hatred evasion persuades them to master balancing storytelling and gameplay in a measurable degree. Then there are the companies either infamous or barely known for anything - you may already take the hint at this one.

      The irkiness of having a documentation with superfluous details in a separate text file actually derives from the devs themselves being too lazy and/or incompetent to implement this feature into their product - and if this is the case, it may also come along with the game itself becoming heapishly halfassed or otherwise disastrous. Worse yet, if companies hire flatout poets to write Pulitzer-worthy masterpieces of originality, yet almost all of the programmers for the project are career-questionable rookies, they already have all set for shutting down in a year or two.

      As harsh and radical as it may sound.

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