Time for a Community tag post! This one looked like a particularly fun one, and after the lovely Irina from I Drink and Watch Anime specifically requested me to do one about games, who was I to refuse?
The original tag came from The Awkward Book Blogger and was based around, as you might expect, books — but it has since expanded to encompass anime and now, thanks to my contribution, games as well.
So let’s jump right in. After the jump. Jumpy jumpy jump.
As I write this, I have beside me a copy of the October 1997 issue of PC Zone, a then-popular, now sadly defunct PC games magazine from my homeland of the UK.
I keep this magazine around for two reasons: firstly, the walkthrough ofΒ Discworld IIΒ on page 145 was written by none other than a teenage yours truly, earned me what felt like a small fortune when I was in secondary school, and represented one of the earliest occasions on which words I had written appeared on national newsstands; and secondly, I simply enjoy looking back on old magazines and seeing how much the games industry and its membersβ attitudes have changed over the years.
Itβs this second point that I particularly want to explore today.
This article was originally published on Games Are Evil in 2013 as part of the siteβs regular READ.ME column on visual novels. It has been edited and republished here due to Games Are Evil no longer existing in its original form.
Continue reading From the Archives: Our Changing Attitudes to Interactive Storytelling
Back at the end of November 2012, this article appeared over on community-led games writing site Bitmob (now folded into VentureBeat’s GamesBeat).
For those too lazy to follow the link and/or read the article, the gist is as follows: Shawn McGrath, creator of the psychedelic abstract shooter Dyad for PlayStation 3, made some rather bold proclamations on how inappropriate he thought video games were as a medium for telling stories.
Specifically, he noted that βlinear story and interactive anything are diametrically opposed,β that they βmake no sense together at allβ and that βany attempt to put storylines in games in any traditional sense is completely idiotic.β
Strong words indeed. So what was his justification for this?
This article was originally published on Games Are Evil in 2012 as part of the siteβs regular READ.ME column on visual novels. It has been republished here due to Games Are Evil no longer existing in its original form.
Continue reading From the Archives: On the “Idiocy” of Interactive Storytelling
One of the things video games are particularly good at as an entire medium is allowing you to immerse yourself in⦠things.
Exactly what youβre able to immerse yourself in depends entirely on the game β inΒ Microsoft Flight Simulator you can immerse yourself in a realistic depiction of what it is like to fly a real aircraft, for example, while inΒ Xenoblade ChroniclesΒ you can immerse yourself in a well-realized fantasy world.
One interesting possibility that this immersiveness allows for is the ability to βliveβ in another culture. For Westerners, itβs particularly intriguing to be able to immerse oneself into Japanese culture, for example, which is in many ways rather alien to the societal norms we see in America and Europe. Of course, said societal norms vary even between America and Europe, but not quite so drastically as the divergence in culture between βEastβ and βWest.β
This article was originally published on Games Are Evil in 2012 as part of the siteβs regular READ.ME column on visual novels. It has been republished here due to Games Are Evil no longer existing in its original form.
“Failure is not an option.” Itβs a mantra weβve had repeatedly rammed down our throats since the dawn of gaming β sometimes using those exact words β but is it really true?
Well, in the case of most games, yes β βfailingβ whatever task you have been set usually results in a Game Over screen (or, in more recent titles, particularly on console, an automatic reload from a checkpoint).
But in the case of visual novels, failure is often not only an option, itβs sometimes outrightΒ desirableΒ to seek it out, if only for a certain sense of perverse pleasure in seeing characters suffering anything from a mild setback to extreme tragedy. The emotional engagement endemic to the medium means that sometimes βbad endingsβ can be even more striking and memorable than the good ones.
This article was originally published on Games Are Evil in 2012 as part of the siteβs regular READ.ME column on visual novels. It has been republished here due to Games Are Evil no longer existing in its original form.
Continue reading From the Archives: The Guilty Pleasures of the Bad Ending
A philosophical question for you today, prompted by a thought-provoking discussion I had with a friend the other evening.
Itβs a particularly interesting question with regard to visual novels, which are regarded by some as not being βgamesβ in the traditionally-understood sense, but it also applies to the interactive entertainment medium as a whole.
The question is a pretty fundamental one for anyone who chooses to make gaming part of their life, whether itβs as a casual hobby, something they share with friends or their favorite form of entertainment.
Itβs this:Β Why do we play?
This article was originally published on Games Are Evil in 2012 as part of the siteβs regular READ.ME column on visual novels. It has been republished here due to Games Are Evil no longer existing in its original form.
School Days HQ is a visual novel/interactive movie from STACK and 0verflow, localised by Sekai Project and published by JAST USA.
Itβs a remastered remake of an earlier title from 2005, simply calledΒ School Days, and is rather notorious for all the wrong reasons β specifically, its violent tragic bad endings, which I wonβt spoil here.
This articleΒ isnβt going to describe or analyse the overall plot in depth; rather, Iβd like to talk about what School Days shows us about the possibilities and challenges a branching narrative offers to content creators, and what other games might be able to learn from the visual novel genre in general in this regard.
This article was originally published on Games Are Evil in August 2012 as part of the site’s regular READ.ME column on visual novels. It has been republished here due to Games Are Evil no longer existing in its original form.
Continue reading From the Archives: School Days, Chaos Theory and Emotional Engagement
