At some point, it was decided that every modern video game needed to include additional story in the form of collectables. As we wander the world, we come across audio and/or text files. We can pause our gameplay to open up the parchment or ‘press play’, at which point we are told a little bit more about the world or given more flesh for the bones of the story.
Sometimes, it’s implemented well. Other times, the extra information is dull or unnecessary. Far too often, the added collectable stories feel forced, as if the developers felt obligated to include such things – All the other games are doing it.
Continue reading “Show, Don’t Tell: Do Games Talk Too Much?”
I’m terrible at sticking to one game at a time. Whilst I should be dedicated to The Witcher (especially since I’m blogging about it once a month), I’m also playing Legend of Zelda: Majora’s Mask on the 3DS and Lost Odyssey on the Xbox 360. I hop between each game depending on my mood, preference and proximity to gaming platform. I mention this poor gaming discipline in order to make a point about boss battles.
These three games offer up boss fights in very different ways. Majora’s Mask, as with the rest of the franchise, delivers the most comprehensive boss fight package. The lair’s superior is given their own room, theme music, new game mechanics and a fancy, introductory banner with their name on it. Lost Odyssey is slightly more conservative. The boss is provided with introductory and concluding cutscenes and a new set of attacks. Most basic of all are The Witcher bosses, which are usually bigger, more vicious versions of previous foes. There is, however, more effort made to entwine each boss into the narrative of the game.
Continue reading “What do you want from a Boss Fight?”
If you want a game to look zany, turn any animal into a tool for destruction. The creature might be the weapon itself, useful for bludgeoning, or it might be the ammunition that you fling or fire at your confused opponents. Either way, animal weapons are usually delightful. On the other hand, animal weapons in History tend to be a bit more alarming…
Continue reading “Animal Weapons – Videogames vs History”
Two weeks ago I was on a school trip in Berlin. Each time I go on this trip (this was the fifth time) a student looks up at the Reichstag building, turns to me and demands to know if that was the building ‘they’ assaulted at the end of Call of Duty: World at War. Every trip, without fail, and it always makes me chuckle.
Returning to my blog after a two week hiatus, I find myself mulling over an odd question (which formed somewhere between leaving the amazing city of Berlin and challenging my students to Mario Kart on the coach ride home) that I wish pose to anyone who has ever been a student or teacher:
If you could organise/embark on a school trip to a video game location, where would you go?
Continue reading “School Trips to Game Worlds: Where would you go?”
Imagine if I was to walk up to you in the street, grab your hand, and then use it to slap a passing stranger. As you turn to me hoping for an explanation I instead blame the whole incident on you, shaking my head in disgust and remarking on what an awful thing you just did.
Video games do this kind of thing to us all the time. Rather than patting us on the back as we save the day, numerous games force us into playing the bad guy or doing the wrong thing. This doesn’t put gamers off however; some of the most tremendous games have you playing the anti-hero throughout, or occasionally throwing you into a situation that will ultimately leave you feeling guilty, despite the fact that it wasn’t really your decision.
Continue reading “Press X to feel bad: Do video games make you feel guilty?”
I’m sure that if I asked you to name your favourite video game characters, your list would include one or two silent individuals. Many of the most legendary protagonists are taciturn, and are often respected for staying quiet. Unvoiced characters often let their actions (or their games) speak for them.
Whilst many of these voiceless stay hushed, the decision to grant speech has occurred in many game sequels. In the past, this could be attributed to what games were capable of doing – voice acting in video games didn’t develop until the 1980s. Nowadays, this character change needs to be considered carefully. In my opinion, the addition of a character voice can change the very foundations of a game. Occasionally, a franchise will eject its original silent protagonist for a speaking lead, which has a definite impact on how the next game plays out.
Below are a few examples of games that gave their heroes permission to speak. I discuss how I reacted to the change, and the difference that change made.
Continue reading “Why do the silent start speaking in sequels?”