This article is a continuation of the last article on Detroit: Become Human. In it I explore the game’s controversial relation with references to historical forms of oppression, as well as the lead developer’s (lack of) answers to this situation.
In this third installment of How Games Tell Tales, I will discuss games that offer a large amount of player input. Using Detroit: Become Human as an example, I will explore how such choices can work, how most choices are not as meaningful as they seem, and how this intertwines with the concept of intended play.
A few weeks back, the long awaited historical city-building RTS Manor Lords had a demo available through the Steam Next Fest. Oomzer, our in-house city-building connaisseur was looking forward to this for quite some time. What did he think of it? Read it below!
In this second installment of How Games Tell Tales, I will discuss a particular aspect of video games: simulation. By using some theories on historical simulation, I will use Nioh as an example of how games can represent history and mythology.
In this new series, I will explore how games tell stories differently than other media. We start by looking at how games use immersion and player control, with The Last of Us as the main example.
While video games are a unique narrative medium, they have plenty in common with media like movies and books. So much in common, in fact, that they can tell the same stories, in a style of storytelling that is referred to as transmedia. But what is transmedia storytelling?