In the "Hot Impression" series, we are going to use a series by Yahtzee Croshaw, one of the most ingenious and experienced game critics and satirists. Let's have a controversial perception of the current situation of the game industry and see if there are any problems in the game industry, where does its root go back. Join us.
This article was published on July 17, 2009.
I think the biggest problem with Overlord 2 is that it assumes that We care.
Why should the world be conquered in this game? Why should you keep a slave girl in your castle of evil? Why Resurrect Dead Imps? Because you care; And you care, because we say.
This is another common denominator of this game with the Fable series. At GDC 2008, I attended the introduction of Phablet 2, hosted by Peter Molyneux. He told an interesting story at the event, a story about some players who got married and started a family in the playground, kept them hungry, and then stood in front of them and ate to make them feel good, for example. He attributed this to the player's moral weakness. But if you ask me, the reason for doing so was that the player wanted to extract a little value from the overall experience of the game, even if that value was merely a pleasure and a moment based on the suffering of others.
I think the creators of games like this make two mistakes. The first mistake is to assume that the player's feelings and desires in the real world are transmitted to their avatar in the game world as well. The fact is that this is not the case. When you enter the game, you enter an unfamiliar world ruled by new rules. That's why in this world your character starts from scratch. Except for the standard motivation of the player to reach the end of the story and have fun on the way to the end, all other motivations of the player must be defined from the beginning. At this point, the carrot will motivate the player far more than the stick.
So the romantic side mission works when it benefits the gameplay. This becomes a carrot. For example, in most Harvest Moon games, you can marry the characters in the game and your spouse will either give you valuable items, or help you with the farm chores. Japanese Dating Sim games are based on the fact that if you say the right thing and do the right thing, you will receive a rewarding attractive photo of the girl you are interested in.
But in Fable and Orlord, having a spouse or maid has no central gameplay benefit and may even make you nervous. This becomes a stick. The game instructs you to keep your spouse or mistress happy by giving and arranging teen-friendly courtship scenes in which nothing is shown. I have another opinion: I want to put a knife in their throat and play with their wounds. What do you think about this, dear game? What do you think about putting this stick in your butt so I can focus on picking my own carrots?
The second mistake - which is a common mistake between games - is that you can not talk about the things that matter Let us command and forbid. Unlike Phoebe, in Orlord 2 you are not even given the right to choose your maid. The game practically tells you: "This is your greatest duff. "Now love him." It reminds me of the Dramatic Story Surprise in Dead Space, which is presented as a great personal tragedy, but the problem is that your character has been a moving and uncharacteristic armor until then. Which was behind a faceless mask. His grief-stricken body language was like a bold subtitle appearing on the screen saying, "You are very sad right now."
As I said, the player character in the game is a blank slate with things to do with it. It does matter, they need to be identified over time. Dear gamers, you can not hurt our hearts by plunging tragedy into the bodies of hollow characters, especially hollow characters that break our nerves (Alone in the Dark; I'm Thinking of You Now.)/p>
If you want us to care about a character, I think the easiest way is to make that character useful for the gameplay. For example, Alyx in Half-Life 2 or your horse in the Shadow of the Colossus testify to this claim. I love these characters so much that I can sleep in their arms at night. I can also care about the characters at the center of the story; Like Farah in Prince of Persia: The Sands of Time, whose identity has evolved over time He is established as an identifiable and lovable character.
So if you are making a game that is going to have a story, remember this. At the same time, I have to emphasize that being "lovable" does not mean that, like the characters in the Joss Whedon series, it is falling apart minute by minute. Please note this as well.
Source: Escapist Magazine