![]() ![]() To my mind, one of the greatest in gaming history came with Capcom’s pseudo-western RPG, Dragon’s Dogma. If I was going to be lazy about it, I’d say “chill, dude”.īut that absolutely doesn’t devalue the power of an ending. If I was going to be a bit more artsy about it, I’d say that it’s all about the journey, not the destination, man. If I was going to be academic about it, I’d say that game writing’s true use lies in how it surrounds you, rather than to where it directs you. It is, by its very nature, the moment at which all choice is forcibly taken out of your hands, no matter how changeable the final cutscene might seem. To hijack that train metaphor for a second, an ending’s just the terminus of that track. It’s a puzzle that changes from week to week.” Should the development train change tracks (or skip a whole part of its journey for whatever reason) it’s up to the writers to consistently adapt to the new surroundings. Things change during a game’s development, and they generally change to ensure that the game provides consistent fun. Porter sees games writing as much as a support mechanism for development as it is a driving force: “Outside outlandish cut-scenes and the like, narrative isn’t quite as big, spectacular and expensive as everything else that goes into a typical AAA game – and as such is more malleable. In a medium built on moment-to-moment choices, games writing becomes more of a funnel for the player, a way to invisibly help them along - whether that’s by creating something exciting enough that you want to carry on or understandable enough that you know how to carry on. It was a game that thrilled in the moment, rather than upon seeing results. Even if you refuse to accept the solid gold fact that all of its possible conclusions were a bit crap, Human Revolution was never really about the end product of your time with the game.
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