The MoeGamer Awards are a series of made-up prizes that give me an excuse to celebrate games, concepts and communities I’ve particularly appreciated over the course of 2017. Find out more and suggest some categories here!
Today’s suggestion comes to us from “riobravo79”, who doesn’t appear to have a website or Twitter or anything — not that I could find, anyway — but left a comment on the initial awards post. Thanks; hope you see this!
Balancing narrative themes and mechanical interest is always a concern for those making a game with any more complexity than a “walking simulator”, visual novel or similarly story-centric experience. And it’s with this in mind that one of the most common terms bandied about by people who like to pretend they know what they’re talking about is “ludonarrative dissonance”, intended to describe the disconnect between the narrative themes of the story and what you actually spend your time doing in the game.
Some games handle this better than others. Some games don’t even attempt to handle it, combining abstract mechanics with a more realistic narrative. But some games do a wonderful job with fusing their narrative and thematic elements with how the game as a whole works.
And the winner is…
Continue reading The MoeGamer Awards: Best Integration of Mechanics with Thematic Elements
At the time of writing, the 2017 nominees for The Game Awards — referred to by some as “gaming’s Oscars” — have just been announced.
While it’s nice to see some high-profile Japanese games — most notably Persona 5, Breath of the Wild, Final Fantasy XV and Super Mario Odyssey — get some recognition, once again the overall lineup for the awards is a fairly predictable affair that primarily boils down to “which games were most popular and/or made most money this year”.
And while there’s some merit to celebrating those games that have performed well from a commercial perspective over the course of the year, it presents a rather narrow view of the industry that leaves a number of titles underrepresented and underappreciated.
Continue reading Games Awards Should Embrace a Broader Spectrum of Games
Writing for The Atlantic, academic and media commentator Ian Bogost put forth the rather bold claim that “video games are better without stories” and asked “film, television and literature all tell them better, so why are games still obsessed with narrative?”
This is an interesting question to ponder in light of any discussion of video games, but it’s a particularly pertinent discussion to have when we’re considering something as ambitious and audacious as Nier: Automata — a game which not only tells a compelling story, it tells it in an incredibly fascinating way.
Bogost’s article meanders around the point somewhat, but ultimately seems to come to the conclusion that purely environmental storytelling — be it through the use of audiologs, a la BioShock, or less explicitly through the environment itself, as in “walking simulators” such as Gone Home — is not a particularly effective approach to presenting an interactive narrative, though it can provide an interesting playground for a player to explore.
And he’s not really wrong in this regard… apart from the fact that it’s only in relatively rare cases that a game exclusively relies on this approach.
Continue reading Nier Automata: A Game Better With — And Because Of — Its Narrative
Nier creator Taro Yoko is particularly fascinated with death: not only the concept itself, but also how different people respond to it.
Yoko’s interest in the subject, as we’ve previously discussed, stems from a traumatic experience in his youth when he witnessed the accidental, easily avoidable death of a friend and discovered, to his surprise, that there was something oddly humorous in the moment as well as it being horrifying. Someone’s existence had come to a premature end, yes, but there was something fundamentally ridiculous about how it had happened; how sudden it was; and how everyone was powerless in the moment to prevent it from happening.
The inherent ridiculousness of death — particularly accidental death — is something that gamers have been familiar with for many years. And so what better medium through which to explore the concept itself — and what better characters to do so with than those that can’t die through conventional means?
Continue reading Nier Automata: Narrative, Themes and Characterisation
Nier creator Taro Yoko has some strong opinions about how to keep games interesting.
Last time, we heard how he felt that modern triple-A games were often fun for the first twenty minutes, but that he often became concerned these initially impressive titles would become tiresome after twenty or more hours. It was this mindset that caused him to design the original Nier with so many unusual features to it, and many of these — and more — have carried across to Nier: Automata.
Today, then, we’ll take a look at Nier: Automata’s mechanical aspects — and how Yoko’s collaboration with Platinum Games has helped him to realise his vision better than ever before.
Continue reading Nier Automata: Creating a Game That is “Unexpected”, That “Keeps Changing Form”
Nier: Automata is a fascinating game in its own right, but it becomes even more of an interesting story when you take it in context of everything that led to its creation.
In order to understand Nier: Automata and its predecessors, it is particularly important to understand creator Taro Yoko, one of the most distinctive “auteurs” in all of video game making — albeit one who, until the release of Automata, had largely flown under the radar in stark contrast to his contemporaries such as Hideo Kojima.
Yoko is a creator who, it’s fair to say, has consistently pushed back against the boundaries of what is “accepted practice” in video game development — both in terms of subject matter and mechanical considerations. And the results of his resistance to conventions and norms are some of the most distinctive and interesting — albeit sometimes flawed — creations in all of gaming.
Continue reading Nier Automata: Introduction and History
In this episode of the GameCast, we talk about the prevalence of “auteurs” in Japanese game development, NepNep in VR and one of the bleakest anime series I’ve ever seen.
Music, as ever, is the work of MusMus, and the awesome retro font is by Style64. Other music in this episode remains the copyright of its respective owners — though Kaiji fans may be interested to know that the complete soundtrack is available via archive.org: CD1 and CD2.
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